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Articles
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| A Night at the Opera |
| A Who's Who for the Ancients |
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| Table of Contents |
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| A Night at the Opera |
| A Who's Who for the Ancients |
| A Night at the Opera... by Pam Vasilow |
In New York City, the fashionable wives of industrial giants such as Cornelius Vanderbilt and J.P. Morgan made it their number one priority not only to attend the opera, but to be prominently seen there. Their behavior set the tone for what was considered socially proper, and every detail of their mannerisms and clothing was to be envied and copied. So influential were these women, that the creation of New York’s famed Metropolitan Opera House was initiated out of an incident involving the wife of one of the Vanderbilts. Apparently, due to the short supply of coveted box seats at The Academy of Music, Mrs. Vanderbilt was not able to sit exactly where she was best suited. The next morning, her husband summoned the first meeting with the proposal for a new opera house.
Europe was no stranger to this widely acclaimed art form; operas had been performed there for centuries. Italy, considered the birthplace of opera, was highly influential and supplied a great many composers, singers, conductors, and various other performers. Germany, France, England, and Russia all made significant contributions. It was in this atmosphere that the "Golden Age of Opera" was born, and with it was spawned the industry that mass-manufactured pictorial clothing buttons reflecting opera’s immense popularity.
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Picture buttons were already a successful venture for button manufacturers, and buttons depicting favorite scenes and performers from operas were a natural spin-off in keeping with the current trends. They were made to be worn on both indoor garments and outerwear. A lady’s cloak might be adorned with a single large button at the neckline, while the dress underneath was fastened with 20 or more small size pictorials! Children’s clothing also sported them, and the well-dressed man may have had an entire set of waistcoat buttons featuring Jenny Lind -- opera’s "Swedish Nightingale"! Indeed, nearly everyone wore them.
Although these pictorials were created from every material imaginable, they were often made from metal -- brass being the most common. In the United States, the quantity produced seems to be in direct proportion to the state of the nation before, during and after the Civil War. In the ten years prior to the war, and for the duration of the conflict they were only made in small sizes and numbers. As the nation sought to regain its economic foothold once the war was over, there was a slow, steady increase in both size and quantity of these buttons. By the 1870s, they were truly in vogue and reached their full peak of popularity during the 1880s. They continued to be fashionable throughout the remainder of the nineteenth century; and into the very early part of the twentieth century.
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"Grand Opera," replete with tragedy and romance, and "Light Opera," brimming with farcical comedy flourished from the 1870s until the first World War. Although both types were featured on buttons, "Grand Opera" was truly in its heyday. One of the most beloved composers at this time was Germany’s Richard Wagner. Wagner composed thirteen operas in his lifetime, with stories all adapted from German and Norse legends and ancient myths. His "Lohengrin," first produced in 1850, inspired three of the most commonly found opera buttons. "The Arrival of Lohengrin" is the name given to two different buttons depicting the same scene. On one, Elsa (who has been accused of killing Gottfried, her brother) has summoned an unknown knight to do battle for her and Lohengrin appears in a boat driven by a swan. On the other version, only the figure of Lohengrin is featured -- his arm extended as he is about to step out of his swan boat. Before the battle takes place, Elsa promises to marry him and never ask his name. They do marry, (we are all too familiar with the music here -- it is "The Wedding March," perhaps better known as "Here Comes the Bride!") but she gets curious, and finds out he is the Swan Knight, a Knight of the Holy Grail. The swan boat then reappears and he must say farewell to Elsa. Just then it is discovered that the swan is Elsa’s lost brother, (thought to be dead) Gottfried. The spell is broken and the swan turns back into Elsa’s brother as Lohengrin sails away in a boat now driven by a white dove. Elsa dies in her brother’s arms. The button, "Lohengrin’s Farewell to Elsa," is considered to be the most plentiful of the three. It shows him standing in a boat drawn by a dove. He is bidding her goodbye, and with raised hands she pleads for him to stay.
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"Lohengrin" is not the only one of Wagner’s operas immortalized on a button. "Gotterdamerung," and "Die Walkure" (Valkyrie) can also be found. Both of these operas are part of Wagner’s "Ring": a cycle of operas based on German and Norse legends. The "Ring Cycle," or "Der Ring des Nibelung," consists of "Das Rheingold", "Die Walkure", "Siegfried", and "Gotterdamerung". The most famous of these, no doubt, is "Die Walkure". The Valkyries were, according to Nordic myths, maidens who chose which warriors would be slain in battle. If a Valkyrie maiden appeared to a warrior, he would have to die and follow her to "Valhalla". One of the buttons from this opera depicts Brunnhilda, astride a horse and brandishing a spear. Her arm is outstretched toward the sky, and rays of bright light seem to be raining down upon her from the heavens. Seated behind her on the horse is another figure with long streaming hair. Although the descriptions of this button all imply Brunnhilde is carrying a wounded soldier to Valhalla, the story reveals that this is not the case. The button actually depicts a stirring scene from Act II, in which Brunnhilde -- the Valkyrie -- rescues Sieglinde from the wrath of the god, Wotan. Wotan had ordered Sieglinde’s twin brother, Siegmund, to be killed. Siegmund and Sieglinde must escape if they wish to remain together. Upon hearing their tragic tale, Brunnhilde decides to defy the wishes of Wotan (who also happens to be her father) and help the two escape. Wotan discovers this and Siegmund is killed as Brunnhilde flees with Sieglinde. Her father sends lightning bolts and fire down upon her, but she raises her sword against his angry wrath.
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The brave Brunnhilde is featured again on three more buttons, this time from the opera Gotterdamerung", which means "twilight of the gods". It is the final opera in the "Ring Cycle." On one of these buttons, she is shown standing in front of the "Hall of the Gibichungs" as though guarding it, spear in hand. (Famous for her portrayal of Brunnhilde, it is possible that the great German soprano Lilli Lehmann is depicted here.) "Gunther and Brunnhilde" is title of a more commonly found button from this opera. It shows Brunnhilde reclining in a boat while Gunther, the King of the Gibichungs, towers over her with his arm raised triumphantly (singing an aria, no doubt!). There is another, much scarcer button depicting Gunther and Brunnhilde in the great Hall of the Gibichungs, each holding a spear. Many more Wagnerian buttons exist, including a wonderful stamped one piece head of Brunnhilde with her horned Viking helmet! (What a great addition this would be to a tray of "heads with hats"!) This button, I am sure is supposed to be Lilli Lehmann. Her profile is unmistakable. Often, a button’s depiction of the scene or the singer is the same as what was circulated to promote the opera. Photographs of the stars, illustrations of the stories, and even prints taken from toile fabrics were copied onto buttons.
One of Germany’s most famous and brilliant composers was Ludwig van Beethoven. He composed only one opera, "Fidelio". The "Fidelio" button is a rare one. It is highly detailed, showing movement as well as emotion. In this scene, Fidelio, who is really Leonore in disguise, is preparing to help dig the grave for her unjustly imprisoned husband. With a pick over her shoulder, she walks slowly, almost losing all hope of saving his life. Unlike the tragic grand operas of the 1880s, this opera has a happy ending. It was first performed in 1805, and was considered a failure. After Beethoven’s death in 1827, it regained popularity, and by the late 1880s was part of the Metropolitan Opera repertoire.
Italian composers dominated the scene during this era of Grand Opera. Puccini, Verdi, Rossini, Leoncavallo, and Donizetti, just to name a few. Of these composers, Giuseppe Verdi was probably the most prolific. He wrote at least 28 operas including "Otello", "Macbeth", "Rigoletto" and "Aida". Picture buttons can be found of all these operas, including (though very rare) Aida! Verdi was commissioned by the Kedive of Egypt to write an opera with Egypt as the central theme. It was to be performed during the opening of the Suez Canal. He completed the work in 6 weeks time, and Aida had it’s world premiere in Cairo on Christmas Eve, 1871. It was a huge success! (It still is one of the all-time favorite operas by Verdi.) Yet, for all it’s success, only one button is "offically" known to represent this opera. It shows the King on his throne from the biggest scene in the opera, and it is called "King of Egypt -- Aida". In the story, however, Aida is not the King. She is the daughter of the King of Ethiopia who becomes enslaved to the Egyptian princess Amneris. Radames, a young Ethopian captain is betrothed to Amneris, yet falls in love with Aida. It’s a classic love triangle. Egyptian buttons are a subject all their own to button collectors, but thus far no other Aida buttons have surfaced.
"Rigoletto", another Verdi masterpiece, is more frequently found on buttons. Perhaps it is because the figure of the jester is such an interesting topic for a button! The title character is a hunchbacked court jester who has become the victim of a curse. His master is the Duke of Mantua, a 16th century playboy type who actually falls in love with the jester’s daughter, Gilda. (Much to Rigoletto’s anguish.) This violent and tragic tale is fraught with bitter irony. At least three different buttons exist, all picturing Rigoletto dressed as the court jester with scepter in hand. The best one is a one piece brass design which is pierced to show an open window and Rigoletto is stepping through it as though he is entertaining the court.
Giacomo Puccini wrote many beautiful operas, the majority of which remain perennial favorites today. "La Boheme", "Madama Butterfly", "Tosca", and "The Girl of the Golden West" ("La Fanciulla Del West") are a few of the most popular. "The Girl of the Golden West" is a curious opera indeed! Where most operatic settings are somewhere in Europe, this one is set in the American West at the time of the Gold Rush. It made it’s world premiere on December 10, 1910 at New York’s Metropolitan Opera House. It’s star was none other than the great Enrico Caruso. Soprano, Emmy Destinn sang the role of Minnie. There is only one stamped brass button known to represent this distinctly AMERICAN story set to music by this ingenious ITALIAN composer! It depicts Minnie with her button-down shirt open wide at the neck. This depiction is almost exactly like the promotional photograph of Emmy Destinn, which advertised the opera.
Of all the Puccini operas, however, it is "Madama Butterfly" who is most often found on buttons. Written in 1904, it reflected the interest, or rather curiosity, much of the western world had with the Orient. "Madama Butterfly" buttons are often confused with buttons featuring "Mme. Chrsyantheme", which was another Oriental themed opera. (This one, by French composer Messager.) Although "Butterfly" was written 11 years after "Mme. Chrysantheme", it was said that they closely paralleled each other. Puccini’s "Butterfly" quickly surpassed Messager’s composition, and although it has become much more famous worldwide, many more buttons exist featuring Chrysantheme than Butterfly. Interestingly, the world’s obsession with all things Oriental was reflected in "Light Opera" as well. Gilbert and Sullivan, the most beloved composers of lighthearted music, wrote many delightful comic operas. One of the most well known is "The Mikado". First produced at London’s Savoy Theatre in 1885, it centers around the town of Titipu and the lovely maiden, Yum-Yum, who has been betrothed to Ko-Ko, the Lord High Executioner of Titipu. The plot takes many amusing twists and turns before Yum-Yum ends up with Nanki-Poo, the son of the Mikado and the one she really loves. Numerous buttons were created depicting scenes from this well-loved operetta. My personal favorite features Yum-Yum, Peep-Bo, and Pitti-Sing in their famous scene from Act I, "three little maids from school". Who doesn’t love this coy trio? Even their names make me laugh!
Great love stories have always been a favorite topic for composers and picture buttons too. One of the most romantic, albeit tragic, tales is that of Lucy Ashton and Sir Edgar, the Master of Ravenswood. Gaetano Donizetti brought this story to life in his opera, "Lucia Di Lammermoor". The beautiful button, entitled "Lucy and Edgar", shows the couple at "Mermaiden’s Well" where they pledge their love to each other. This is another example of how a picture button can communicate emotion. With her arm on his shoulder, she embraces him, and he looks as if he is about to turn toward her with a kiss.
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Perhaps the most celebrated love story of all time is Shakespeare’s "Romeo and Juliet". French composer, Charles Gounod, wrote the opera version of these star-crossed lovers. It is the famous balcony scene that is depicted on the button, which is beautifully made of stamped and pierced brass mounted over a mesh background which lets the mirror liner shine through. Gounod’s most familiar opera, however, is "Faust". The story of Faust is based on a classic tale by Goethe. Old Dr. Faust, who is in love with Marguerite, sells his soul to the devil (Mephistopheles) in exchange for eternal youth. Marguerite, who makes some pretty horrible decisions herself during her life, repents in the end and is carried off to heaven by angels. Faust, on the other hand, is sent to eternal damnation. There are several different versions of Marguerite pictured on buttons, and at least two depicting Mephistopheles. This is the opera which inaugurated New York’s Metropolitan Opera House on Monday evening, October 22, 1883. The role of Marguerite was sung that night by soprano, Christine Nilsson. She is pictured, in a promotional photograph for this important occasion, with her hair done in long braids. The button, featuring the head of Marguerite in profile, is a very good match to this photograph. I believe it is Christine Nilsson who is depicted on that button, which is a beautiful one piece pressed brass with a pierced design and a rim of cut steels. There are a few other buttons of Marguerite, including the more commonly found "Marguerite at her Spinning Wheel". I believe this one to be Christine Nilsson as well, although Adelina Patti and Nellie Melba also were famous for this role at the same time. There are at least two buttons of Mephistopheles, in each one the identity of the devil (complete with horns and tail) is obvious. Who portrayed the devil on that famed opening night at the Met? It was the Italian basso, Franco Novara.
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Another wonderful French composer was Georges Bizet. It is his opera, "Carmen" for which he is probably most famous. There are a few buttons featuring Carmen, the feisty Gypsy girl. One particular button, known as "Carmen and the Toreador" shows her standing in the doorway while Don Jose speaks to her from the step just outside her door. On another, just the head and bust of Carmen are shown in high relief. This design is applied to a brass background and set into a steel cup. Both are relatively scarce buttons, and would make fine additions to a theatrical tray.
There are many more buttons representing various operas, many of which have fallen into obscurity over the years and are no longer performed. (At least not as repertoire.) Some of them, such as "Paul and Virginia" are thought of more as story buttons than as opera. Like most operas, however, this was a story long before it was set to music. It was written in France in 1788 by Bernardin St. Pierre, but Lasse did not compose the opera for it until a half century later. "Paul and Virginia" are most often found on trays of "couples", but fit in with story buttons, childrens’ buttons, and theatrical as well as opera.
Thank you to Monica Walker for providing me with back issues of "Just Buttons"! -- Pam Vasilow.
| A Who's Who for the Ancients... by Jody Behrbaum |
Cupid himself is actually a mythological being, and getting more familiar with some of the stories will help identify some of your buttons.
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