Exhibit: Victor Herbert and Silent Film Music 2

Herbert’s Operettas and Songs in Silent Film Accompaniment

About Herbert’s Music in Film by Sebastian Ocando (video) (Notes)

A Guide to The Fortune Teller by Erin Fowler

The Fortune Teller “When the ambitious young soprano of the famed Bostonians company, Alice Nielsen, decided to break away from the group and start up a comic opera company in opposition, she and her producer Frank Perley launched their project with a piece commissioned from Bostonians ’ chief suppliers, Harry B Smith and Victor Herbert. It premiered at Wallack’ s Theater, New York, on 26 September 1898. ” - Operetta Research Center The Story A poor Polish composer, Count Berezowski, learns of a ballet student at the Budapest Opera who will inherit a large fortune and he wishes to marry her for the money. Fresco, the ballet master, wants to split the money with the Count. The student who will receive the fortune, Irma, however, is in love with someone else, Captain Ladislas. When Irma learns of what is going on, she plans to run away and disguise herself as her brother, Fredor. What ensues after is a slew of events of romance, deception, and overall chaos, but a happy ending is sure to come. The Cast Musette (a fortune teller): Alice Nielsen Irma (a ballet student): Alice Nielsen Fedor (Irma ’ s twin brother): Alice Nielsen Captain Ladislas (a Hussar): Frank Rushworth Fresco (a dance master): Richard Golden Count Berezowksi (a composer): Joseph W. Herbert Mlle Pompon (a fading prima donna): Maurgerite Sylva Sandor (a gypsy leader): Eugene Cowles The Performances Initial release This operetta was made to travel, and that it did. With the first performance happening on Broadway, it went to Toronto, then moved to Buffalo, then spent five short weeks in New York City again. Looking forward Nielsen brought the operetta back to New York in 1901 along with the original cast. In 1903, The Fortune Teller went overseas to Australia and had a run at the Sydney Theatre Royal, The Princess in Melbourne, and the Theatre Royal in Adelaide. Film and present day The operetta returned to broadway in the late 20s. Two heavily adapted versions made their rounds in the 40s in New York and London, without much success. Warner Brothers produced a film based on the operetta in 1934. Victor Hebert’s Music An operetta by Victor Herbert 1898 Herbert, an incredibly important composer of operettas in the late 19th and early 20th centuries, contributed a large body of work for The Fortune Teller. Full scores for the operetta can be found online.

A Guide to Naughty Marietta by Riley Bryan

About Babes in Toyland by Jada Smith

Victor Herbert’s operetta Babes In Toyland has had a significant impact on early cinema, notably appearing in cue sheets for silent films like Edward Sloman’s drama We Americans and Mervyn LeRoy’s comedy Naughty Baby.a film poster for Naughty Baby showing Alice White and Jack Mulhall in an embrace

Various songs from Herbert’s operetta were use in lighthearted moments in these films. Cue 35, “School Room,” for We Americans is “I Can’t Do The Sum” which humorously addresses the challenges of math during a school scene. The song evokes the sing-song melodies of childhood, with a bouncy eighth note rhythm for lyrics like “You can think and think and think till your brains are numb/I don’t care what teacher says, I can’t do the sum.” 

 

“Floretta,” cue 23 from Naughty Baby, has lyrics that describe a mystic who looks into the future, seeing that another character will become “…a wealthy Broadway playboy.” Additionally, Herbert’s song “Streets of New York” from The Red Mill was incorporated into both cue sheets and is intended to evoke the lively atmosphere of New York City.

Aidan Knighton identifies music from “The Ony Girl” as having been used in accompaniments for silent film. Listen here.

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