Word: delilah
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Dates: during 1920-1929
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...clock tonight, Operatic Night, is as follows: 1. Cortege from "The Queen of Sheba" Gounod 2. Overture to "The Sicilian Vespers" Verdi 3. Waltz from "Eugen Onegin" Tschaikowsky 4. Fantasia, "Madame Butterfly" Puccini 5. Prelude to "The Mastersingers of Nuremberg" Wagner 6. Dance of the Priestesses from "Samson and Delilah" Saint-Saens 7. Ballet Music from "La Gioconda" Ponchielli 8. Intermezzo from "Cleopatra's Night" Hadley 9. Selection, "Carmen" Bizdt 10. Intermezzo, "Cavalleria Rusticana" Mascagni 11. Coronation March from "The Prophet" Mayerbeer
...Waltzes from "Der Rosencavalier" R. Strauss 4. Fantasia, "Faust" Founod 5. Suite from the Ballet "Sylvia" Delibes 1. Les Chaeseresses. 2. Pizzicato. 3. Cortege do Bacchus. 6. Sextet from Lucia di Lammermoor" Donizotti 7. Norweigian Dance No. 2 Grieg 8. Second Hnngarian Rhapsody Liszt 9. Bacchauale from "samson and Delilah" Satnt-Saens 10. Large, Sole violin Mr. J. Hoffman Randel 11. American Patrol Meacham
...program for the Pop Concert at Symphony Hall at 8 o'clock this evening is as follows: 1. Pomp and Circumstance (with Organ), Elgar 2. Overture, "William Tell", Rossini 3. Waltz, "Roses from the South", Strauss 4. Fantasia, "Samson and Delilah", Saint-Saens 5. Selection from "Pinafore", Sullivan 6. Bacchanale (The Venusberg) from Act 1, "Tannhauser, Wagner 7. Kammenol Ostrow, Rubinstein 8. Second Hungarian Rhapsody, Liszt 9. Selection of Scotch Airs, "The Thistle". arr. Mydlleton 10. "Valse Gracieuse", E. German 11. Land of the Maple, Laurendeau
...Philip Hale, in reviewing for the Boston Herald, Ben Ami's performance in "Samson and Delilah" at the Wilbur, regrets that Ben-Ami did not have a better play. He complains of the theatricalness of many of the scenes and of the general lack of skill in the treatment of the theme. Most of his criticism is true enough; yet We felt at the time and do now that Ben-Ami would have had trouble to have found another vehicle so admirably suited to his talents in many respects as is this work Sven Lange...
...first and last, looks, acts, and is the Slav; he seems to have stepped from a play of lsben or a novel of Tolstoi or Checkhov. To appear at his best he needed a play in which the environment would not be unnatural to him; In Samson and Delilah he found such a play, from curtain rise to curtain fall it is imbued with the spirit of the Slav. In its frequent, terribly effective appeals to the stage; in its lack of sentiment and its slow, careful development of the plot, it is distinctly the vehicle...