Average Reviews:
(More customer reviews)A physically beautiful book. It contains, however, a lot of the author's speculations that parade as truth. The author, William Everett, would state that Romberg did this for this reason or did that for that reason, when really this was only his own figuring. I was often in disagreement. What I did appreciate was how Romberg's music was analyzed and reviewed. The book also includes information on the composer's unsuccessful works, which was interesting. But I got the impression that Everett was trying to put every bit of information possible into the book. I've always felt that it is important to know what to leave out of a book.
On the whole, however, it is a good book and will be pleasing to musical theater fans. It is a much better book than Romberg's other book "Deep in My Heart." But not as good as the author's later book, "Rudolf Friml."
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Hungarian-born composer Sigmund Romberg (1887–1951) arrived in America in 1909 and within eight years had achieved his first hit musical on Broadway. This early success was soon followed by others, and in the 1920s his popularity in musical theater was unsurpassed. In this book, William Everett offers the first detailed study of the gifted operetta composer, examining Romberg's key works and musical accomplishments and demonstrating his lasting importance in the history of American musicals.Romberg composed nearly sixty works for musical theater as well as music for revues, for musical comedies, and, later in life, for Hollywood films. Everett shows how Romberg was a defining figure of American operetta in the 1910s and 1920s (Maytime, Blossom Time, The Student Prince), traces the new model for operetta that he developed with Oscar HammersteinII in the late 1920s (The Desert Song, The New Moon), and looks at his reworked style of the 1940s (Up in Central Park). This book offers an illuminating look at Romberg's Broadway career and legacy.
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