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Musical Courier 1892-02-10: Vol 24 Iss 625, 1892
76 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1morning on his way to the election polls to vote for Andrew Jackson!
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5And now for a finale, and one in which my thorough knowledge of the double counterpoint of shears and mucilage is displayed. Read this from the "Recorder" and see whether you are "in it":
7Some opera night go to the Metropolitan Opera House, and during one of the entractes walk about the huge semicircular lobby and glance at the types you encounter. Go again another evening, and lo! the same faces are you sure to meet. Or, better still, when the usher's back is turned, steal down one or the other of those low, narrow, vault-like alleys near the stage and peep at the people in the front rows, and again your eyes encounters the same familiar visages. Professional critics I do not allude to; they are always in their regular seats, and on their fixed hardened and music battered visages may be noticed that curious listening expression that is also to be found on the intelligent countenances of any United States Secret Service detective. It is a look, in a word, that is always on the faces of those who hunt for false notes. one of two readings
8Some opera night go to the Metropolitan Opera House, and during one of the entractes walk about the huge semicircular lobby and glance at the types you encounter. Go again another evening, and lo! the same faces are you sure to meet. Or, better still, when the usher's back is turned, steal down one or the other of those low, narrow, vault-like alleys near the stage and peep at the people in the front rows, and again your eyes encounters the same familiar visages. Professional critics I do not allude to; they are always in their regular seats, and on their fixed, hardened and music battered visages may be noticed that curious listening expression that is also to be found on the intelligent countenances of any United States Secret Service detective. It is a look, in a word, that is always on the faces of those who hunt for false notes. one of two readings
10But the people who go nightly whenever an opera is on are the professional singers who were great, the professional singers who are great and the professional singers who expect to be great. The type is always the same. The short, thickset tenor with the rubicund, healthy visage was the favorite of opera goers a decade ago. He is at the opera every night now, but only remains while some favorite bit is being done, and mentally makes notes of comparison with his memory. That memory very often tells him that he could have done better himself.
12Ah, how well he knows it, and when an acquaintance slaps him on the back and says (with a familiarity which would have been resented a few years ago): "Campy, old boy, your third act was better," the whim great singer shakes his head deprecatingly and possibly sighs furiously. one of two readings
13Ah, how well he knows it, and when an acquaintance slaps him on the back and says (with a familiarity which would have been resented a few years ago): "Campy, old boy, your third act was better," the whimpering great singer shakes his head deprecatingly and possibly sighs furiously. one of two readings
15Then there are the veteran conductors! How they swarm and cluster and sneer at Vianesi's or Louis Saar's tempi! The little eloquent uplifting of the shoulders when you say, "Maestro, what did you think of that finale?" and ten to one the old gray head will say, "In my day we did not turn Mozart minutes into gallopades," and thus crushed you retire to smoke a cigarette and revile Wagner with a select friend who has been in Bayreuth, and who hates Seidl and Cullmacher.
17Then the managers are a distinct group in themselves. How they chatter and how they do pull down reputations and sneer away talents. You entered the opera house with the idea that the De Reszkes were great artists. You talk with old Eulenspiegel, the manager, for five minutes only and you discern that Jean de Reszke is a forced-up baritone, and Edouard—well, God only knows what Edouard de Reszke is not, from a bass to a baritone quality to a tenor with a bass quality, who uses too much the voix blanche, the yellow voice, the green voice, the purple larynx, or whatever nonsense the vocal experts choose to get off.
19Somewhat disheartened, you see a great soprano, that is, one whose name was on everybody's lips fifteen years ago. To her you humbly go, and whisper Lehmann's name, suggesting at the same time that she is rather dramatic in her methods, and have to then stand off a foot to escape the heat from the optical scorn expressed at your lack of judgment and tact. "But Eames is a beautiful woman, who does very well," you hazard, sure that you are on solid ground at last.
21That settles it. You retire a moment later with as pretty a mental black eye as a sullen woman can administer to an impertinent maladroit. On all sides you discover the same state of affairs. Nobody is pleased with the present. All refer sadly to the past, and Maurice Grau is buttonholed so often by people who wish to show him how to run the operatic machine successfully that he has had the buttonholes of his coat twisted with copper wire.
23"You should have heard Stickiial in 1888. Ah, what a voice! what phrasing! what acting!" This has made me so disconsolate that I search in vain for some of the great singers of the past régime who really find good in the present.
25Well, there are some left. Just look at that modestly dressed woman in the prime of life who sits unmoved while Giulia Ravogli wriggles through "Amneris." That natron is Mrs. Raymond, whose "Amneris" in "Aida" was one of the greatest the world has ever heard; and when that same music loving world saw Annie Louise Cary's name on the operatic handbill it thronged the old Academy of Music, eager to witness her great scene in the last act. Now Mrs. Raymond very kindly applauds the Ravogli woman, but she knows in her heart she could go upon the stage in her street dress and sing the part better, and she is only human if she so thinks. In another stall in the orchestra sits the prince of tenors, Italo Campanini, accompanied by his sunny hued wife. I wonder if he feels the old fire while Jean de Reszke sings "Celeste Aida." Ah, me! what a voice had Campanini! Perhaps the old croakers are right. All the good voices are vanishing fast, and, mayhap, future generations of opera goers will have perforce to listen to men and women with cunningly devised artificial voices, as did the Greeks and Romans. Everybody knows Campanini, who is a good fellow and who sings with perfect taste yet.
27There to the left sits a famous "Margherita" in her day, Clara Louise Kellogg, and beside her is Carl Strakosch, her husband. How old Academy times were recalled to me by seeing in a group the other night De Vivo, the elder Grau, Max Maretzek, the two Strakosch boys, Carl and Edgar, and in the foreground Achille Errani, with his clean cut face, trim imperial and sparkling eyes, talking to Frank de Rialp, both veterans among veterans.
29Max Maretzek, more than any other man, barring, of course, De Vivo, can unlock for you the gate to a flood of memories that will fairly inundate you if you are not agile or a strong swimmer. Max has been in musical life for sixty years, and what he has not seen might be put in a small reticule. He has conducted "Don Giovanni" over 300 times. Think of it, you modern conductors, who are proud if you direct a work twice in public! He has heard Lablache, and thinks he was a greater basso than Edouard de Reszke, and nobody would think of disputing this fact with him. In Max's opinion the great voices have vanished, Patti being the last. Where are your Maras, Pastas, Malebrans, Grisits, Novellois, Sontags, Schroeder Devrientis, Linds, Tierjens, Viardots-Garcias, Albanis, Luccas, Nilsons, Rubinis, Rogers, Marios, Padillos, Faures he will ask you, and you tremble at the idea of lugging in a contemporaneous name, for its value would be shivered by a shrug of the shoulder. But Max Maretzek goes to the opera every night. He can't help it. It is like gambling or opium eating, this craze for music, and no Keeley has yet arisen to cure music intoxicated people.
31Don Diego de Vivo, who personally conducted the Israelites (the only lights in those dark times) in their excursion across the desert, is, of course, at the opera continually, and when he is not reverting to the wonderful cast of "Belsario" and "Favorita" he manages in the "fifties" he is expatiating on the merits of his newly engaged star, Mrs. Tavary, in whom is concentrated the talent of ages. De Vivo is a walking encyclopaedia, and remembers everybody who ever played and sang in the musical world from Nero, the violin virtuoso (who, it will be remembered, fiddled with "great fire"), down to Josef Hofmann, the pianist. What does De Vivo think of the opera? Oh, he likes it very well, particularly the big three (Lassalle and the De Reszkes) and Emma Eames. Singular, is it not, that there is but one opinion of this beautiful girl. She is looked on as a coming star by all the knowing ones, for she is yet in a chrysalis state.
33Eugenia Pappenheim, once a great favorite, now a well-known singing teacher, is often to be seen at the opera, and by a strange coincidence Tom Karl, who sang "Faust" to Pappenheim's "Margherita," was in the house one "Faust" night. Then the statly Cappiani must not be forgotten. She usually occupies one of the baignoire boxes, and is always surrounded by a bevy of pretty girls, her pupils, and when Lilli Lehmann with her tragic stride crosses the stage and stands under the sacred oak preparatory to singing "Casta Diva." La Cappiani bends and whispers to the pupil nearest some bit of singer's lore, for she herself was a great "Norma" in her day, and has, in fact, sung all the great rôles.
35In the next box to her sit the music loving Cahn family, with Emil Fischer, the basso, and Mr. and Mrs. Anton Seidl as their guests. It is "Fidelio" night, and there is a sarcastic expression hovering about the great Wagnerian conductor's lips as he watches Louis Saar wrestle with the tempi and rhythms of the "Leonora" overture, No. 88. No wonder, for it is badly played, and to cap the climax Edouard de Reszke is the "Rocco" of the evening, and it is a part he has never sung in public before. Emil Fischer, who was once a great "Rocco" and "Hans Sachs," sits stolidly and looks thoroughly unhappy. The whole party leave after the prison scene. Mrs. Anton Seidl, who is a perfect vision of Teutonic beauty, was Miss Krauss, and her "Eva" in the "Meistersinger" was a most finished performance, but unhappily she sings no more in public, though her voice is as pure and bird-like as ever.
37The handsome woman with the superb eyes, accompanied by a tall, soldierly looking man, is Laura Schirmer-Mapleson, the soprano, and her husband is Col. Henry Mapleson, the son of the famous impresario. Mrs. Mapleson is at the opera nearly every performance, and she seems to thoroughly enjoy it. Her singing days, as far as America is concerned, are yet to come, for her reputation was earned on the Continent and in the East.
39Frank de Rialp, who was the elder Mapleson's right hand man for years, will meet you in the lobby any night, and in his grave, dignified Spanish style elucidate some knotty laryngeal problem, or Errani will speak of the coloring of Jean de Reszke's B natural; or you will meet the best posted woman on voice matters in New York, Mrs. Anna Lankow, who in four minutes will clear up the mystery hovering about Adelina Patti's head tones. Everywhere you turn you encounter vocal experts, broken down singers, throat sharps, managers, singing teachers and singers and singers, and again singers. Alberto Lawrence, Paul Rivarde, both famous masters; Franz Remmertz, the basso; Del Puente, the gallant torero, as smiling and as fresh as ever; Antonio Galassi, full of the memoirs of his "Amonasro," and compared with whom Mr. Camera, the present "Amonasro" is a mere kodak. Emma Juch, of the defunct American Opera; Pauline L'Allemand, Helen Dudley Campbell, the contralto; Jennie Dutton, the soprano; Edward O'Mahoney, the bass, whose "Herald" in "Lohengrin" did not waffle with the ferocity of the present incumbent; Joseffy, the opera loving piano virtuoso; Paderewski, the human chrysanthemum, who visits the opera when he can and when his fellow countrymen, the De Reszkés, sing; Purdon Robinson, the possessor of a beautiful baritone voice; Victor Harris, the composer; Ferdinand Sinzig, the pianist; Franz Rummel, another great pianist, who loves vocal music better than his life; Georgine Von Janowschky and her husband, Adolf Neuendorff, the conductor, all drop into the Metropolitan Opera House when they have the time.
41Frida Gebele-Ashforth, the most successful singing teacher in the city, often pilots a party of pupils to listen to the good music furnished forth. Jacob Graf, the veteran tenor, whose "Di Quella Pira" always took the house by storm fifteen years ago; Christian Frisch, the tenor, and a great voice authority; Carl Alves and his pupil, Mrs. Carl Alves, with the lovely contralto voice; Marie Ritter-Goetz, the alto of last year's operatic voice; Harriet Avery-Strakosch, Max Heinrich, the great Lieder singer from London; Camilo Urso, the violinist; the group of old timers, William Mason, S. B. Mills, the pianist; George F. Bristow, the composer, and Henry C. Timm, not forgetting Paola Giorza, the teacher and composer; George Simpson the celebrated oratorio tenor, who still looks young; black bearded Dr. Carl Martin, the basso; Henrietta Beebe-Lawton, the best of our local sopranos in oratorio, accompanied by her husband, Lawton, the tenor—all may be seen by the observer, if he so minds, on an opera night.
43Minnie Hauk, too, looks in once in a great while, accompanied by her husband, Chevalier Wartegg. Nicolo Barilli, Adelina Patti's only surviving half brother, may also be noticed, bringing up by his very appearance a troop of ghostly memories. Conductor Sapio, the vocal master, who should have been in the conductor's chair this year, is a frequent visitor, and occasionally Frank Van der Stucken, the conductor composer, allows us to gaze at his intellectual and finely cut features. Busting Gustav Hinrichs, the conductor, now of Philadelphia, who beat New York on the production of "Cavalleria Rusticana," stops a breath'ness moment to inform you that he intends doing Mascagni's "L'Amico Fritz" in the City of Brotherly Love next month. one of two readings
44Minnie Hauk, too, looks in once in a great while, accompanied by her husband, Chevalier Wartegg. Nicolo Barili, Adelina Patti's only surviving half brother, may also be noticed, bringing up by his very appearance a troop of ghostly memories. Conductor Sapio, the vocal master, who should have been in the conductor's chair this year, is a frequent visitor, and occasionally Frank Van der Stucken, the conductor composer, allows us to gaze at his intellectual and finely cut features. Busting Gustav Hinrichs, the conductor, now of Philadelphia, who beat New York on the production of "Cavalleria Rusticana," stops a breath'ness moment to inform you that he intends doing Mascagni's "L'Amico Fritz" in the City of Brotherly Love next month. one of two readings
46Walter Damrosch declares as he goes home after a performance of the "Huguenots" that a finer male cast was not to be imagined, and Director Alexander Lambert allows an amiable smile to flit over his sardonic face as he informs you that his countrymen, the De Reszkés, will probably sing at a 'pupils' concert in the New York College of Music. Ardit is there, too, when circumstances permit. Martin Roeder, composer of the opera "Ruy Gomez," was there the other night, and occasionally that arch-Wagnerian Oscar Webber, deigns to look in and give a classical tone to the Italian music loving audience. George Sweet, the baritone, visits the house, but not often, nor does that delightful writer on music, the genial George William Curtis, whose "Easy Chair" possibly contains so many sweet memories of the last opera. At every performance may be seen Director Edmund C. Stanton, whose article on "Opera" in the last "North American Review" was admirably to the point. Occasionally at the stage door a glimpse of Mrs. Van Zandt may be caught, full of maternal solicitude for her daughter Marie, who is just singing "Connais tu la pays" in "Mignon." one of two readings
47Walter Damrosch declares as he goes home after a performance of the "Huguenots" that a finer male cast was not to be imagined, and Director Alexander Lambert allows an amiable smile to flit over his sardonic face as he informs you that his countrymen, the De Reszkés, will probably sing at a 'pupils' concert in the New York College of Music. Ardit is there, too, when circumstances permit. Martin Roeder, composer of the opera "Ruy Gomez," was there the other night, and occasionally that arch-Wagnerian Oscar Webber, deigns to look in and give a classical tone to the Italian music loving audience. George Sweet, the baritone, visits the house, but not often, nor does that delightful writer on music, the genial George William Curtis, whose "Easy Chair" possibly contains so many sweet memories of the last opera. At every performance may be seen Director Edmund C. Stanton, whose article on "Opera" in the last "North American Review" was admirably to the point. Occasionally at the stage door a glimpse of Mrs. Van Zandt may be caught, full of maternal solicitude for her daughter Marie, who is just singing "Connaiss tu la pays" in "Mignon." one of two readings
49Then, weary with all these faces and memories, you pass Treasurer Max Hirsch in the lobby, steer clear of a group of chatting ghosts, but as you reach the gate the old refrain catches your ear once more: "Ah, but you should have heard Stickiial in 1888!"
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53Have I got you all in? If not drop me a postal card and all omissions will be rectified in the future.
55Gerard-Thies "Evening of Song."—"An Evening of Song" was given at the new Music Hall last Wednesday evening by Miss Louise Gerard, soprano, and Mr. Albert Thies, tenor, assisted by Mr. Adolph Hartedegen, 'cello, before a large audience. The program was well given and well received. "Two Bird Duets," by Rubinstein, by Miss Gerard and Mr. Thies; a romanza from "Cavalleria Rusticana," by Miss Gerard, and "A Golden Argosy," by Mr. Thies were notably well sung. Mr. Hartedegen played in his usual finished manner and added much to the evening's enjoyment.
57PERSONALS.
59The Verdis Ill.—The Milan musical journal "Gazzetta Musicale" states that Verdi is suffering from a somewhat severe attack of influenza. His wife also is ill from the same disease. And Arrigo Boito is laid up with influenza, but is said to be getting better. We hope that all three are restored to health by this time.
61The Busy Henschels.—Mr. and Mrs. Henschel are going to be busy this year. After they have fulfilled their present engagements in London, and those at Belfast and Dublin, on March 4 and 5, they will start immediately for the United States, give some forty recitals here, return to London before the close of the season, and then go on a provincial tour.
63Death of Zerbini.—Death, so busy of late in the ranks of the musical profession, has added to his victims John Baptist Zerbini, who died at Melbourne, Australia, recently, aged fifty-two. Some years since Zerbini was one of a famous quartet party, his three associates being Joachim, Ries and Piatti. Although Zerbini was chiefly known as a brilliant viola player and violinist, he proved something more than this, possessing as he did musical knowledge of the highest order and an absolute acquaintance with every species of instrument.
65Piatti's Birthday.—On the 8th ult. Piatti reached the age of three score and ten. He made his first appearance in England about forty-eight years since, and from that time onward has always been favorite with English audiences. The veteran 'cellist's 'rentre at this season's first Monday "Pop" was the signal for the heartiest applause, made all the more emphatic by the fact that on this occasion he fulfilled the twofold capacity of composer and executant. The novelty introduced was the "Sonata Idilica" in G major, the fourth work of its genre that Piatti has penned for his instrument. It was listened to with rapt attention by a large audience, which testified its appreciation by thrice recalling the executants.—London "Musical News."
67Rossini Remembered.—The citizens of Pesaro, Rossini's birthplace, seem to have a curious idea of the best method of celebrating the centennial of the composer's birth on February 29 next. It is said that nearly $10,000 is available, but the festivities are to include an exhibition (which will remain open for a month), two operatic performances at the theatre, choral contests and other musical entertainments, besides a bicycle race, a wine fair, a shooting contest, a display of fireworks and a cattle show. No one can now accuse the good folks of Pesaro of undue narrow-mindedness.
69Death of Mrs. Spohr.—At Cassel, on the 4th ult., died Mrs. Marianne Spohr, formerly a celebrated pianist and the widow of the great composer Louis Spohr.
71Something About Alvary.—The favorite tenor of American young ladies, the never-to-be-forgetten Max Alvary, after having sung "Tannhäuser" this season twenty times at Hamburg, has just been engaged to interpret the same part at Koenigsberg. It is reported by the Berlin "Boersen Courier" that in order to have an "Elizabeth" worthy of his own "Tannhäuser" he has secured Miss Theresa Malten, of Dresden, to appear with him at the Koenigsberg theatre. It is also asserted that Alvary has been re-engaged for next summer's Bayreuth performances.
73Karl Bergstrom.—Mr. Karl Bergstrom is a native of Copenhagen, Denmark, who emigrated to this country when quite young, making his home in this city, where he has studied and taught piano for some years. He has been under the guidance of eminent masters, and, owing to his natural ability, his progress has been very rapid, especially when he pursued studies under that indefatigable and excellent teacher, Albert Ross Parsons, who had many words of praise for him. Mr. Bergstrom is a pianist above mediocrity, having performed whole programs from memory of the best compositions of the classic and modern masters. He has special abilities as a teacher of piano, harmony and composition, and is devoting himself to these specialties. His method has given very gratifying results.
75From the London "Figaro."—The news received in London recently of the death of the once famous "forced-up baritone," Mr. Chollet, might well have been accepted with caution. Chollet's name is known to students of musical history as the tenor-baritone—a description which, according to American musical critics, might now justifiably be applied to Mr. Jean de Reszke—for whom Hérold wrote "Zampa," and Auber "Fra Diavolo." That he should have lived to attain the great age of ninety-four or ninety-six (the dates are conflicting) seemed extraordinary, and musical dictionaries were searched to see whether some mistake had not been made. However, it appears that Chollet, whose voice had almost worn out before he appeared here as far back as 1850, and who as a septuagenarian withdrew from public life twenty years ago, had since enjoyed his retirement, living upon the fruits of his previous economies. Chollet rose from the ranks. His father was a chorus singer at the Paris Opéra, and Chollet gained admittance to the Paris Conservatoire, where, as a lad of ten (or, as some aver, eight), he, in April,
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