The Firefly. Theatre Register

Also credited on2 works

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

What could be done? Naughty Marietta was closing. Emma Trintini was already scheduled to appear the following season in a new musical called The Firefly, to be produced by Hammerstein's son Arthur with a score by Victor Herbert. A new composer had to be found right away.ebooks/Jones, Tom/Making Musicals_ An Informal Introduction to the World of Musical Theater - Tom Jones.txt
Or perhaps comic opera was simply musical comedy with an opera singer in it, such as The Firefly (1912), written for Emma Trentini. She was a member of the Manhattan Opera Company when the Metropolitan Opera bought off its impresario, the senior Oscar Hammerstein. Freed of her Musettas and Neddas, Trentini joined other Hammerstein colleag…ebooks/Mordden, Ethan/Anything Goes_ A History of American Musical Theatre - Ethan Mordden.txt
Trentini played a street singer who gets taken up by the yachting class, disguises herself as a boy, is accused of theft, goes off to study voice, and returns in glory as a prima donna. And the firefly? The firefly is … love! (because it “glimmers by, and dies while it is gleaming”). Friml’s wordsmith was Otto Hauerbach (later Harbach), v…ebooks/Mordden, Ethan/Anything Goes_ A History of American Musical Theatre - Ethan Mordden.txt
In short, Maytime felt new. It was, in effect, one of the first of the twenties operettas. The Firefly was still mired in comic-opera practices, and for all the opportunities it gave Trentini it isn’t a very romantic piece. Maytime , with its thwarted love sadly postponed for two generations till a long-lost deed is accidentally recovered…ebooks/Mordden, Ethan/Anything Goes_ A History of American Musical Theatre - Ethan Mordden.txt
The imminent upheavals of World War I prompted several European composers to emigrate to the United States, most notably Sigmund Romberg (1887–1954) and Rudolf Friml (1879–1972), both of whom continued to write operettas in the new world. Friml’s first American work was The Firefly (1912), designed as a second vehicle for Emma Trentini. A…ebooks/Music, The Cambridge Companion To The Musical Cambridge Companions To/Cambridge Companion to the Musical (Cambridge Companions to Music), The - The Cambridge Companion To The Musical Cambridge Companions To Music.txt
Rudolf Friml, born in Prague, studied piano with Josef Jiranek and composition with Antonín Dvovřák at the Prague Conservatory before moving to the US and settling in New York in 1906. Desiring to be a romantic virtuoso in the spirit of Chopin or Liszt, he achieved fame as a soloist and composer of miniature works for solo piano. In 1912…ebooks/Music, The Cambridge Companion To The Musical Cambridge Companions To/Cambridge Companion to the Musical (Cambridge Companions to Music), The - The Cambridge Companion To The Musical Cambridge Companions To Music.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

What this person played. No cast list we hold records a character against a performer.
Any staging. This name appears in no production cast list we hold — 1,877 of 7,139 people are in that position, most of them writers, composers and designers rather than performers.
Birth or death year. Neither is on the record.
Any biography.
Which of the credits above the roles on this record — composer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.