Scan 12
Musical Courier 1894-03-14: Vol 28 Iss 731, 1894
68 lines. Read by computer on 19 September 2026. Printed page 13. See the scan on archive.org.
1THE MUSICAL COURIER.
3LEIPZIG LETTER
5LEIPZIG, February 7, 1894.
7THE first production of "Manon Lescaut," by Giacomo Puccini, was the occasion of quite a distinguished gathering of visiting managers, critics and singers at the Neues Theatre, February 2. The unusual concern of those interested in the production of a novelty shows that the products of the modern Italian school are looked forward to with considerable expectation. No wonder! Mascagni and Leoncavallo have proven such tributaries to the revenues of opera houses that managers cannot be blamed for satisfying the public's appetite for this manner of entertainment.
9From "Manon's" reception in Leipsic it would be difficult to predict whether it might prove such a magnet to the ducats of the public as "Cavalleria" and "Pagliacci." And yet Puccini, for sensationalism of his text, quite eclipsed his colleagues, though his music, while often very suggestive of both, is of a higher order. The libretto presents merely a succession of effective pictures without logical connection.
11The "Chevalier de Grieux" is about to renounce worldly for ecclesiastical pursuits, but while he is still enjoying mundane pleasures a coach is driven up bringing "Manon," accompanied by her brother, who has brought her to Amiens for the purpose of placing her in a convent. It requires but one short meeting of the divinity candidates to fall in love with each other and agree to an elopement, which is successfully carried out.
13In the second act we see "Manon" as the mistress of another, "Geronte," an elderly, wealthy roué. With exceptional talent she has already completely mastered the art of being blasée, and all efforts of admirers, musicians, &c., to divert her are of no avail. Her brother, "Lescaut," is present and shamelessly applauds her coquetry. This same brother has, however, been kind enough to the first betrayer of his sister to reveal to him her whereabouts. "De Grieux" appears upon the scene. Reproaches, regrets, forgiveness and a plan for another elopement. As they are about to carry this out "Lescaut" rushes in with the information that "Geronte," who has discovered the plot, is approaching with officers. After a futile effort to escape "Manon" is arrested and carried away.
15The third scene shows the grated windows of "Manon's" prison and a ship lying in the harbor in the background. "Manon" has been sentenced to deportation and, together with a number of other women, she is to be sent to America. What authority "Geronte" and the officers had for the arrest of the girl and on what ground she was sentenced to exile are left for conjecture. The brother and "De Grieux" appear, but cannot rescue "Manon." "De Grieux," however, entreats the captain of the ship to be permitted to share his mistress' banishment, and his request is granted.
17The last is a wild scene, supposed to be near New Orleans. Both are again fugitives. Just why is not apparent. "Manon," famished and exhausted, is dying, and when, after a long struggle, she succumbs, "De Grieux," in despair, sinks upon her prostrate form.
19There is not one noble character in the opera, unless it be noble for a man to be so devoted to a sensual love as to forget honor and pride and commit crime. "Manon" is the most disgusting and shameless grisette that has been thrust upon the operatic boards. There are good reasons for one's feeling sympathetic to, or at least not revolted at characters like "Camille," "Carmen," "Nedda" and Wagner's specimens of marital inconstancy, but in "Manon" all is shameless licentiousness.
21Much of Puccini's music is worthy of a better cause. Taking it all in all it is more refined and shows possibilities for greater development than the first efforts of his two colleagues. The inclination in common with them for rather pathetic arise given to several instruments in unison, notably violins, 'cellos and French horns, with commonplace harmonies, is very freely indulged in. Then as a contrast he ventures some daring harmonic innovations. The minuet in the second act is musically one of the best and most original numbers of the opera. The scene when "De Grieux" entreats to be allowed to accompany "Manon" is worked "à la Mascagni" very effectively. The music of the last act can at best be termed an anti-climax. In the first act there are some pretty choruses, the finale especially being ingeniously made. The third act has an introduction whose consanguinity to Mascagni and Leoncavallo intermezzi is unmistakable.
23The novelty was exceptionally well produced. Miss Dünge sang "Manon;" Mr. Merkel, "De Grieux;" Mr. Demuth, "Lescaut;" Mr. Wittekopf, "Geronte." Conductor Pauzner seemed to have taken great pains in preparation. The curtain had to be raised after each act, and there were some hearty demonstrations of approval, mingled with the well-known noises of dissent. After such glorious novelties as Smetana's "Der Kuss" and "Die Verkaufte Braut," this diet is not so palatable. "Manon" had been given in Germany before only at Hamburg.
25At a recent production of "Meistersinger" Miss Kernic made a very successful début as "Eva," establishing herself as a very worthy successor to Miss Mark in this, one of her strongest rôles. The favorable mention recently made of Miss Kernic's rapid and satisfactory progress may be strongly reiterated apropos of this occasion. The training of her voice, both as to tone formation and technique, appeared to very good advantage. In her acting, too, she has almost entirely cast aside impetuous individuality for repose and deliberation.
27Paul Kalisch was to have sung "Walter," as a guest, but in consequence of his indisposition the part was taken by Mr. Thoma, from Dessau, and that so badly that no one could blame "Beckmesser" for not allowing him to finish his first song. Had "Beckmesser" only been equally successful in the last scene! The great second scene of the third act was, by the way, omitted because of the gentleman's fiasco. Otherwise the performance was magnificent. Mr. Schelper's "Sachs" is perhaps his best rôle, and that signifies very much. The superb "Beckmesser" of Mr. Neldel causes a feeling of regret that this gentleman has unmistakably missed his vocation—that of play actor. It is safe to say that with study he would develop into an admirable impersonator of certain Shakespearian characters, whereas his voice is not good enough, even had it been well trained, to warrant a belief that as an opera singer he will ever have much standing. For one scene of this opera the stage management must be severely criticised. When "Beckmesser's" serenade is interrupted by the neighbors they (who are supposed for the most part to have retired) appear on the scene of action in the same costumes as during their gatherings. In Vienna this scene was given particular care, and the night caps that first appeared in windows, the subsequent array of night gowns, negligée and dishebille of all sorts were quite consistent.
29Miss Doxat is having one triumph after another. As "Isolde," in two recent performances she might well have served as a prototype to some of the acknowledged great impersonators of that character. If the rumors of her intended retirement from opera, at the expiration of her Leipsic engagement, because of her recent marriage, be true, one of the brightest stars in the profession will forego the satisfaction of universal recognition which otherwise must become hers.
31Mr. Demuth's engagement to the Hamburg Opera, to take effect in two years, is announced. In him Leipsic will lose an artist who may justly be the pride of any city in which he is domiciled.
33* * *
35"Have you heard Bajazzo?" I asked of a young artist recently. "Bajazzo? Bajazzo? No, who is he;—a pianist?"
37* * *
39Beethoven's "Missa Solemnis" was given at the Gewandhaus January 25. The soloists were Mrs. Pia Obenberger von Sicherer, from Gotha, soprano; Mrs. Marie Craemer-Schlegler, from Düsseldorf, alto; Mr. Robert Kaufman, from Basel, tenor, and Mr. Rudolph Wittekopf, of the Stadt Theatre, basso. The two ladies were unsatisfactory, and would have been about equally so had it not been for the contralto's effusive display of feeling. In her persistent endeavors to sing everything with feeling she proved one of the most exasperating excuses perpetrated by the directors upon the public. In view of the great scarcity of good tenors in Germany it might have been difficult to have improved much upon Mr. Kaufman. His singing, however, was far from meeting all artistic requirements. Mr. Wittekopf's singing was masterly throughout. It seems to be as impossible for him to emit a harsh or badly formed tone as for inharmonious blendings of color to exist in nature. His singing at times seemed an oasis in a musical desert.
41The choruses had apparently been carefully studied, and would have been acceptable had it not been for the continued really frightful flattening of the sopranos. But then perhaps they should not be blamed for this so much as the composer. When Beethoven wrote soprano parts, as in the "Missa Solemnis" and the Ninth symphony, expecting them to be sung, he must have supposed the capability of the chorus soprano to be different from what it is.
43At the sixteenth Gewandhaus concert February 1 the program was:
45PART FIRST.
46Overture to Shakespeare's "Richard III"………………R. Volkmann
47Concertstück for violoncello (op. 81, MS.)…………….Antonio Bazzini
48Played by Mr. Hugo Becker, of Frankfort-on-the-Main.
50Introduction.
51Allegro appassionato.
52Three orchestra pieces from "Sigurd Jorsalfar,"……Edward Grieg
53Vorspiel ("In the Königshalle").
54Intermezzo ("Borghild's Dream").
55Huldigungsmarsch.
56Played by Björnson.
57Sonata for 'cello and piano…………………….Pietro Locatelli-Piatti
58Allegro.
59Adagio.
60Minuetto con variazioni.
62PART SECOND.
63Symphony (D major, without minuet)…………………W. A. Mozart
65The playing of the orchestra in the past few concerts has been all that could possibly be wished for. Reinecke seems to be in excellent condition and is very painstaking. Volkmann's dramatic overture was played in so finished a manner and with such excellent appreciation of the contrasting pictures that the venerable conductor received for himself and the great orchestra the heartiest manifestations of appreciation. These were repeated after each of the movements of the symphony. As everyone knows, Reinecke while engaged with Mozart's music is in his element. Yet I verily believe that on this occasion in conducting the andante he did not reveal all the treasures that his wand might have conjured from the score before him.
67Grieg in person conducted his new compositions. He seems particularly partial to Leipsic. It may be remembered that last year he brought out his second "Peer Gynt" suite at an academic concert. The three pieces heard on this occasion are very suggestive of his other orchestral compositions of the last few years. Really, compared to the other numbers on the program they seemed very trivial and musically shallow. A few simple, pretty melodies are not worthy of the bombastic treatment they receive. The desire for effect is too palpable. The third number begins with a pretty conceit for 'cello quartet, but the modest little bud is artificially forced to the size of a cabbage rose, until it bursts—at least almost the ears of the audience. Grieg was recalled twice at the close, and was also heartily received upon his first appearance. From their success
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