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'Tannhäuser and the Jockey Club'

Synopsis

We have produced a Style Guide to help editors follow a standard format when editing a listing. If you are unsure how best to edit this programme please take a moment to read it.
A Radio Play by HANS G. LUSTIG
(See. centre column and article on page 453)
The Paris of 1860 saw the elegant tragicomedy of the Second Empire still running, to all appearances, successfully. There were hints that the third Napoleon was thinking of Liberal support for the Imperial facade, but Paris remained happily self-centred and self-secure. Politics left it cold, but the German ' barbarian ' Wagner raised the tern- pcrature of the town to boiling point one evening in March, by his preposterous new opera—Tannhäuser—' all pilgrims and dia- cords.' Paris, taught by Offenbach, Rossini and Meyerbeer that opera was a pleasant succession of melodies, punctuated by ballet, was outraged. Particularly the imperialist members'of the exclusive ' Jockey Club '—allpowerful in the social world-who regarded the best seats, the second-act ballet, and the ladies of the opera as their peculiar preserves. Napoleon III , who was not musical, might countenance this Teutonic insult for the sake of his foreign policy or for ' Mad Metternich,' but' The Jockeys ' 'would not. Tonight's play tells the story through the mouths of the chief participants in this Franco-German musical fracas, in which Wagner failed where Moltke succeeded ten years later, the Emperor backed another of many losers, and ' those affected cads' ' The Jockeys' defended the stronghold of Parisian culture with silver whistles.

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Play By: Hans G. Lustig
Unknown: Napoleon Iii

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'Tannhäuser and the Jockey Club'

National Programme Daventry, 28 February 1933 21.20






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