tag:blogger.com,1999:blog-8935297705846111801.post2901939513677624674..comments2024-03-24T16:37:56.651-07:00Comments on Kurt of Gerolstein: When a girl isn't pretty ... but she can sing!GEROLSTEINhttp://www.blogger.com/profile/08446253124724430879noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8935297705846111801.post-44282342343728410632020-04-03T17:17:32.119-07:002020-04-03T17:17:32.119-07:00Postscript: May I add that I have seen an enthusi...Postscript: May I add that I have seen an enthusiastic production of Princess Toto and my impression, at least based on that viewing, is that it should be played in rather a zany vein and certainly needs a leading lady able to exploit its comic potential. Its musical material is not more difficult than, I would say, the easiest of the Savoy soprano roles, but it still should be sung legitimately. sshttps://www.blogger.com/profile/11739254253389694657noreply@blogger.comtag:blogger.com,1999:blog-8935297705846111801.post-51253249272346508252020-04-03T17:07:09.264-07:002020-04-03T17:07:09.264-07:00Hello, Kurt. You wrote "Gilbert was undoubte...Hello, Kurt. You wrote "Gilbert was undoubtedly behind the choice" of Albu as Toto. However, Ainger (p. 124) and Stedman (p. 139), say that Gilbert sold the performing/staging rights to Clay for a period of ten years (and went so far as to state publicly that he had nothing to do with the casting or staging). Therefore, it was Clay who oversaw the London productions of 1876 and 1881, and also the New York production and American tours during that period. sshttps://www.blogger.com/profile/11739254253389694657noreply@blogger.com