简介
"Perhaps the oddest and most influential collaboration in the history of American modernism was hatched in 1926, when a young Virgil Thomson knocked on Gertrude Stein’s door in Paris. Eight years later, their opera Four Saints in Three Acts became a sensation - the longest-running opera in Broadway history to date and the most widely reported cultural event of its time." "This is the story of how that opera came to be. It involves artists, writers, musicians, salon hostesses, and an underwear manufacturer with an appetite for publicity. The opera’s success depended on a handful of Harvard-trained men who shaped America’s first museums of modern art. The elaborately intertwined lives of the collaborators provide a window onto the pioneering generation that defined modern taste in America in the 1920s and 1930s."--BOOK JACKET.
目录
Concept
Prologue: Introducing Four Saints in Three Acts p. 3
The World of 27, Rue de Fleurus p. 9
Virgil Thomson: Roots in Time and Place p. 23
Virgil and Gertrude Write an Opera p. 37
A Transatlantic Love Affair p. 55
Virgil Thomson Visits America p. 63
Taste
Young Harvard Moderns p. 79
A Personal Break, a Commercial Breakthrough p. 115
Group Snapshot 1923: The Harvard Moderns p. 133
The World of the Stettheimers p. 163
High Bohemia and Modernism p. 173
Modernism Goes Uptown p. 197
Show
Negotiations and Exchanges p. 211
Snapshots: Summer 1933 p. 217
Collaborators: Not the Usual Suspects p. 231
Rehearsals in Harlem p. 241
Opening Night p. 265
Four Saints Goes to Broadway p. 281
Epilogue
Aftermath p. 297
Notes p. 323
Bibliography p. 349
Acknowledgments p. 355
Index p. 357
Prologue: Introducing Four Saints in Three Acts p. 3
The World of 27, Rue de Fleurus p. 9
Virgil Thomson: Roots in Time and Place p. 23
Virgil and Gertrude Write an Opera p. 37
A Transatlantic Love Affair p. 55
Virgil Thomson Visits America p. 63
Taste
Young Harvard Moderns p. 79
A Personal Break, a Commercial Breakthrough p. 115
Group Snapshot 1923: The Harvard Moderns p. 133
The World of the Stettheimers p. 163
High Bohemia and Modernism p. 173
Modernism Goes Uptown p. 197
Show
Negotiations and Exchanges p. 211
Snapshots: Summer 1933 p. 217
Collaborators: Not the Usual Suspects p. 231
Rehearsals in Harlem p. 241
Opening Night p. 265
Four Saints Goes to Broadway p. 281
Epilogue
Aftermath p. 297
Notes p. 323
Bibliography p. 349
Acknowledgments p. 355
Index p. 357
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