Sergei Rachmaninoff / Naughty Marietta

On this day in classical music: Sergei Rachmaninoff’s “Rhapsody on a Theme of Paganini” was given its premiere in Baltimore in 1934. Leopold Stokowski led the Philadelphia Orchestra with the composer as soloist. Rachmaninoff composed the “Paganini Rhapsody” during the summer of 1934 at his Swiss villa on Lake Lucerne. Niccolo Paganini’s 24th Caprice was the inspiration for the “Paganini Rhapsody,” a theme and set of 24 variations. Rachmaninoff, Stokowski and the Philadelphia Orchestra were the first to record the work on Christmas Eve, 1934. Listen to Mikhail Pletnev play the famous 18th variation from the “Rhapsody on a Theme of Paganini.” Claudio Abbado conducts the Berlin Philharmonic. http://www.youtube.com/watch?v=MQVi5MFt5M8

On this day in the musical theatre: Victor Herbert’s operetta “Naughty Marietta” opened on Broadway in 1910. Set in New Orleans in 1780, “Naughty Marietta” is the story of Captain Dick Warrington and his intent to unmask and capture a notorious French pirate. The title character, a high-spirited runaway, helps Warrington in his quest but ends up being a hindrance. She tells Warrington that she is destined to fall in love with the man who can complete the song she’s heard singing near a fountain. As expected, Warrington is heard singing the song and the two fall in love. The operetta’s big tune, “Ah! Sweet Mystery of Life,” became a popular hit and was also featured in the film “Young Frankenstein” and the stage musical “Thoroughly Modern Millie.” Listen to Robert Merrill sing “I’m Falling In Love With Someone.” http://www.youtube.com/watch?v=w_QqDMi82Jg 

Musical musings: Victor Herbert’s “Naughty Marietta” has been a mainstay of the New York City Opera, but apart from the sets, everything about the run that opened Tuesday night is new. Several ensemble numbers, including the “Italian Street Song,” came off smartly. Cheryl Parrish made her debut in the title role and scored a genuine success. She commands the big stage effortlessly, and she has it in her to win a special round of applause for a well-timed gesture or line of dialogue (this happened several times). Her comic Italian accent is dead on, her energy fills the house, she is not a stranger to subtlety, and she plays the character from the inside, with feeling; the outbursts of jealousy and hurt feelings are as convincing as the insouciance. Michael Rees Davis played Captain Dick in good stalwart fashion, with an exciting ring to his tenor voice. Sometimes both the sound and the character suffered from a certain want of relaxation, but one is eager to hear more of him. These old operettas offer little to the intellect and tell comfortable half-truths about the world, but if played with sincere feeling they can be touching. That side of “Naughty Marietta” was missed at the City Opera; still, for Miss Parrish’s verve and the improved level of ensemble delivery, it is worth seeing. – Will Crutchfield in The New York Times in 1988

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