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Musical Courier 1892-05-11: Vol 24 Iss 638, 1892
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1The Goethe exhibit is the largest yet seen outside of Weimar. Through the courtesy of the Grand Duke of Weimar all the finest treasures of the Goethe house, theatre and museum have been collected here. They fill a large division of the gallery, and nothing in the historical department probably will attract half the attention that they will. Together with the Schiller collection, also sent by the Grand Duke of Weimar, this division contains 7,000 objects of the highest historical interest.
3Next to the Wiemar department the visitors lingered longest in the room containing the Esterhazy collection. Here is a tortoise shell violin of Joseph Haydn, and beside it lies, under glass, a bundle of violin strings, with this card: "These are strings upon which Joseph Haydn once played." Here also are all the memorial coins ever struck in honor of the master.
5Italy is not especially well represented. Donizetti's room, furnished with the articles used by him in his study, is the gem of the exhibit. His piano stands against the wall opposite the door, and over it hangs his diploma as master of music. In the autograph collection are letters and musical scores by Donizetti, Rossini, Bellini, Verdi, Spontini, and Ponchielli.
7The exhibition is pronounced by all who were present today to be successful beyond the expectations of those who planned it.
9The firm of Ricordi, at Milan, have informed Princess Metternich, the honorary lady president of the exhibition, that they intend to publish a musical album in miniature. Fifteen copies of it, richly bound, will be presented to the members of the Austrian Imperial family, 1,500 to the members of the grand committee of the different nations, while 1,200 copies will be given gratuitously to visitors to the exhibition.
11A New Libretto for Mascagni.—Messrs. Tarigioni-Tozzetti and Menasci, who are the compilers of the libretto of Mascagni's "Cavalleria Rusticana" and "Ranzau," have been engaged by Mascagni's publisher, Sohzogno, to prepare a libretto for him on the subject of the drama "Vestilia," by the Italian poet, Rocco de Zerbi.
13Marchesi and the American Voice.—The only good word that was ever said abroad about the American girl's speaking voice was by Marchesi, the great singing teacher of Paris. Marchesi said that the reason the American girls were so successful as singers was because as children they were never afraid to speak out. Their loud and unhesitating speech had kept the vocal chords facile, used to work, so that when the occasion for training came they responded quickly, and stood the necessary wear and tear of practice. The English girl, on the contrary, as a child is taught not only to speak low, but to restrain her utterance—enthusiasm and vivacity being underbred. The result is that her voice, although so agreeable in quality, is monotonous, and that her vocal organs, having been long kept within limits, accomplish with difficulty the wide range required in singing. At the present writing there is unquestioned anxiety expressed through correspondence in the English journals concerning the growing importance of American prima donnas and the growing unimportance of English singers. Aside from the rank taken by Albani, Eames, Nordica, Nevada, Van Zandt, Sanderson in the great operatic centres of Europe, there are Ulmar, De Lussan, Agnes Huntington, Esther Palliser, Leonora Bradley, singing in London in lighter operas, and Belle Cole, Mrs. Eugene Oudin and numbers of American women singing in private London houses to the exclusion of English women. And now comes Miss Margaret Reid, a new aspirant, with a half dozen girls just ready for launching in Paris. One paper attributes the success of the American girl to the fact that she hastens to Paris for training, while the English girl studies at home. Another states that the American girl has what the English girl lacks—that is, temperament. A third says that America being a much larger country than England, there is naturally a larger range of voices, as if it was a question of area. The fact is that the only singer to whom England can possibly lay claim of late years is Melba—and Melba is an Australian.
15The Manchester Conservatoire.—Sir Charles Hallé hopes to start the Manchester Conservatoire in October. Sir Charles is president, while Mr. Charles Santley, the baritone, will be director of the vocal studies.
17Valda's Bankruptcy.—The operatic field furnishes some news a little out of the beaten path. A letter from London tells that Giulia Valda, the American soprano (Julia Wheelock), is passing through bankruptcy. At the first meeting of her creditors her petition was read. She made her début in 1879 in Milan. In 1889 she obtained a divorce from her husband, E. S. Cameron. Valda was in attendance at the meeting, but made no proposal, and consented to an adjudication. Her liabilities, she said, were about $7,000. There were no assets. A trustee was appointed to wind up the proceedings.
19Messager and Loti.—Pierre Loti, who was, with the usual honors, admitted to the French Academy a fortnight ago, is the author of the story upon which Mr. Messager's new opera, "Chrysanthème," intended for the Paris Opéra Comique, is based. Mr. Messager states that he has put his best music into this work, and that he anticipates that it will be even more successful than "The Basoche," which perhaps is not saying much. Mr. Messager has also contracted to write a new opera for Messrs. Ricordi, of Milan, and it will in all probability be given at La Scala.
21A New Story.—An amusing story concerning "Cavalleria Rusticana" is related by the Liverpool "Mercury." A theatrical manager went to hear Mascagni's work at the Theatre Royal, Manchester, but was unaware that "Cavalleria Rusticana" was preceded by an act of "The Bohemian Girl." As the music sounded strangely familiar he turned to a neighbor and asked him what the opera was that was being performed. "Cavalleria Rusticana," was the reply, "Well," cried the indignant manager, "I don't know what it is, but this music is not new to me; Mascagni is a plagiarist!" And then he fled the theatre.
23Lara's "Light of Asia."—Among the operas that Sir Augustus Harris will produce during the coming season, which opens May 16, is Mr. Isidore De Lara's "Light of Asia." This work, it will be recalled, was on the point of being produced at the close of last season. The principal part, it is said, will be sung by Lassalle. The piece will also be performed at the Genoa Opera House, where the leading part will be taken by Maurel.
25The Ashforth Recital.
27FRIDA DE GEBELE ASHFORTH gave her annual pupils' recital Tuesday evening of last week at Chickering Hall, and, as is always the case with these recitals, furnished an evening of most excellent and artistic singing for a large and fashionable audience. This was the program:
29Quartet, "The Lord is My Shepherd" ……………………………………… Schubert Eight Voices.
30Aria, "Pêcheurs de Perles," ………………………………………………… Bizet
31"Summer" ……………………………………………………….. Chamisade
32"Regrets" ……………………………………………………….. Delibes
33"Indian Love Song" …………………………………………….. De Koven
34Aria, "Don Carlos" ………………………………………………… Verdi
35"Minnelied" ……………………………………………………. Brahms
36"Herbstgefühl" ………………………………………………… E. Nevin
37"In Maien" ……………………………………………………. Hiller
38Scène d'Ophélie, "Hamlet" ……………………………………… A. Thomas
39Grand duet, "Aida" …………………………………………….. Verdi
40Aria, "Il Guarany" …………………………………………….. Gomes
41"Printemps" …………………………………………………… Saint-Sièns
42"Gute Nacht" …………………………………………………… Dvorak
43Songs ……………………………………………………….. Grieg
44Aria, "Le Cid" ………………………………………………… Massenet
45"Das erste Lied" ………………………………………………… Gramann
46"'Twas April" ………………………………………………… E. Nevin
47Duet, "Zigeunerlieder" (by request) ……………………….. Brahms
48Misses Wernig and Mandelick.
50This was indeed a versatile program, and one admirably adapted to test the varied training of Mrs. Ashforth's pupils. While all the singing was not on a high plane of artistic worth, it was thoroughly sincere and showed conclusively how solid and satisfactory the methods employed are. Miss Stella Lipson sang with an aplomb and finish worthy of a veteran the difficult and trying "Ophélie" scene from "Hamlet," and little but words of praise can be awarded to the efforts of Misses Kathrin Hilde and Alice Mandelick. Miss Mandelick is the lucky possessor of a vocal organ delicious in its rich velvety quality, and she sings most unaffectedly and effectively. The aria from Saint-Saëns' "Samson et Delilah" was the best thing of the evening, and places Miss Mandelick at once within the limited category of artistic concert vocalists. Mrs. Ashforth can well congratulate herself on the results of this season's labors. They have borne abundant vocal fruit. Here is a list of her students for 1891-2:
52Miss Hattie Adams, Syracuse, N. Y. Miss Adelaide Lane, Philadelphia.
53Miss Sallie Akers, New York. Miss Mary Lawton, Boston.
54Miss E. Bessy Austin, New York. Miss Olivia Leventritt, New York.
55Miss Mary W. Babcock, Montclair, N. J. Mrs. Frank Lindner, New York.
56Mrs. F. Hicks Baldwin, Brooklyn. Miss Stella Lipson, New York.
57Miss Alice Barnard, New York. Miss Ellen Long, Toronto.
58Mrs. Grace Haskell Barnum, Brooklyn. Miss Alice Mandelick, New York.
59Miss Anita Mason, New York. Miss Jeannette McClanahan, Jackson, Tenn.
60Mrs. Addie L. Beckman, New York. Miss Angele McEvoy, New York.
61Miss C. J. Bennett, New York. Miss Nettie McEwen, Brooklyn.
62Miss Emily Boehm, New York. Miss Florence Meigs, New York.
63Miss Carrie Boelen, New York. Miss Nellie Meyers, Selma, Ala.
64Miss Alice Breen, Staten Island. Miss Mary Moore, Boston.
65Miss Alice C. Bussing, Montclair, N. J. Miss Nora Nathan, New York.
66Miss Frida Newberger, New York. Miss Florence Osborne, Brooklyn.
67Miss Daisy Calverly, New York. Mrs. Mary O'Brien, Atlanta, Ga.
68Miss Edith Cameron, New York. Miss Birdie O'Neil, New York.
69Miss Annie Louise Cary, Orange, N. J. Miss Lucy Osborne, New York.
70Miss E. J. Clapp, Montclair, N. J. Miss Naomi Paine, New York.
71Miss M. R. Cromwell, New York. Mrs. Kathryn Parker, Brooklyn.
72Mrs. Bertha Cutter, New York. Miss Agnes Paul, Brooklyn.
73Miss Mattie Darling, Newark, N. J. Miss Minga Pope, New York.
74Miss Evelina Davison, New York. Miss Polly C. Pratt, Brooklyn.
75Mrs. C. T. Dillingham, New York. Miss Clara Robitscher, New York.
76Miss Mona Downs, Brooklyn. Mrs. Hast-Rosenthal, New York.
77Mrs. H. Duryea, New York. Miss Ada Schulz, Brooklyn.
78Miss M. Ehlers, New York. Mrs. N. Searing, Arlington, N. J.
79Miss Mildred Emanuel, New York. Mrs. A. Seitz, Easton, Pa.
80Mrs. W. W. Farmer, New York. Mrs. J. R. Skinner, New York.
81Miss Helen Fernbach, New York. Miss Morse Smith, New York.
82Mrs. Max Fisher, New York. Mrs. Olmsted Sooysmith, New York.
83Miss Carrie Frank, New York. Miss Carrie Strauss, New York.
84Miss I. Goetschius, New York. Miss Rosa Stern, New York.
85Miss H. Goodman, New York. Miss Susan Stevenson, Indianapolis.
86Miss Fanny Grant, New York. Miss W. Sylvester, Washington, D. C.
87Miss Sally Grant, New York. Miss Clara Torrey, Brooklyn.
88Miss Ruby Gurney, Boston. Miss Daisy Thompson, New York.
89Miss Minnie Half, San Antonio, Tex. Miss Kitty Van Vleck Brooklyn.
90Miss Kate Hansel, Stockton, Cal. Miss Marion R. Weeks, Portland, Me.
91Miss Edith Harris, Pittsburgh, Pa. Miss Kathrin Hilde, Stockton, Cal.
92Miss Anna Johnson, Memphis, Tenn. Miss L. Wildes, Brooklyn.
93Mrs. Louise Kloman, New York. Mrs. Linnette Williams, Brooklyn.
94Miss Fanny Campion, New York. Miss Anna Wykoff, New York.
95Miss Addie Lander, New York.
97Rosa Linde's Engagements.—Miss Rosa Linde, prima donna contralto, sang with success at the Ludwig concert on Sunday several Irish songs and is engaged for a Liederkranz concert at the end of the month. She has been singing in public two or three times a week during the past month.
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