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Musical Courier 1894-03-14: Vol 28 Iss 731, 1894
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1ceived at such capable hands. His operatic training developed his dramatic instincts, making of him a broader artist, capable of giving the best interpretation to any work that he undertakes. Mr. Vert has induced him to come to America early in April, and we predict for him a great success.
3Below may be seen a few of the thousands of press notices regarding Mr. Mills' singing in Great Britain in the popular works so often heard:
5"La Favorita," Theatre Royal, Birmingham.
6The event of the evening was the first appearance of a new bass in the person of Mr. Mills, who played "Baldassare." He is possessed of a clear, rich voice, with a ring about it which it is hoped he will be able to preserve. In spite of the nervousness incidental to a first appearance he achieved a triumph which is attributable to his magnificent voice alone. A more promising singer has not been heard in Birmingham for years.—"Midland Echo," May 22, 1884.
8"Messiah," Albert Hall.
9A very favorable impression was created by Mr. Watkin Mills, a young baritone with a well trained voice of rich quality. A more promising vocalist has not appeared for years, and we shall be much surprised if Mr. Mills does not take the very highest rank in his profession.—"Musical Times," February 1, 1885.
11"St. Paul," Crystal Palace (Festival Performance).
12Mr. Watkin Mills next gave a splendid delivery of "Consume them all, Lord Sabbath," and it was especially remarked that the young Englishman was almost the only baritone of modern days whose words were so distinctly enunciated that they could be clearly heard over the gigantic space of the central transept.—"Figaro."
14"St. Paul," Royal Choral Society.
15Mr. Watkin Mills was of course thoroughly impressive in the leading part, for he has for some time been recognized as almost without a rival in the forcible music which Mendelssohn has put into the mouth of the great Apostle of the Gentiles.—"Musical Times."
17"Redemption," Dublin Musical Society.
18"Then is Jesus condemned" gave evidence in its delivery of the careful study imparted to the work by Mr. Watkin Mills, who in this as in the subsequent recitative passages showed a remarkable power in his grasp of sentiment of the composer in his illustrations of the text.—The "Irish Times."
20"Golden Legend," Leeds Festival.
21"The part of 'Lucifer' found an able exponent in Mr. Watkin Mills, whose powerful voice gave him great advantage in many passages where he had to cope with an unusually noisy orchestra. The great mocking song, in which he scoffs at the Pilgrim band, and their wonderful 'piff and paff,' was given with great declamatory power and wonderful spirit; and no less capital were his several calls to the spirits to destroy the house of God."—Leeds "Mercury."
23Berlioz' "Faust," Leeds Festival.
24"The successor of Mr. Santley as 'Mephistopheles,' in the person of Mr. Watkin Mills deserves the highest possible eulogium. The part is a trying one, and it is somewhat a difficult task to display its inherent cynicism and deviltry, at least on the concert stage, overstepping the limits of concert usage. The latest comer, however, to the ranks filled by one after another exponent of the lies and deceits of him 'who mocks so freely, pale visaged and red hair,' has no need to fear comparison with any who has gone before him."—Liverpool "Mercury."
26"Elijah," Birmingham Festival.
27"Mr. Watkin Mills since he was first heard in Birmingham at the triennial festival of 1882 has made the most gratifying progress as an oratorio singer, and he now stands in the first rank of vocalists, able to do justice to the most trying part in the sacred works of Händel and Mendelssohn. For the exposition of the title music in the 'Elijah' he possesses the most important qualifications—a voice which tells in a large area, a vigorous style and a command of contrasting expression. Last night his essays from first to last were masterly expositions, governed by what we consider the most just conception of the part. The scene with the priests of Baal was remarkable for its dramatic spirit, and 'It is enough' was distinguished by the utmost of pathetic feeling. The final 'For the mountains' was another highly commendable example of smooth singing, presenting admirably the less impetuous characterization of the 'Prophet's' part as the close of his striving with the rebellious people is approached.—Birmingham "Gazette."
29"Sampson," Sir Charles Hale's Manchester Concerts.
30In an even greater degree are these remarks applicable to Mr. Watkin Mills, who essayed the character of "Harapha," by which—as far as Manchester is concerned—he has at once stepped forward into the very foremost rank of oratorio singers. Whether regarded as an artistic display of a fine voice, accentuated by a telling and pointed delivery, or looked at as an appreciative and talented rendering of a beloved master, assisted with the power to do that master the fullest justice, his performance is altogether beyond criticism.—Manchester "Evening News."
32"The Lay of the Bell," Birmingham Festival Choral Society.
33Mr. Watkin Mills as the "Master" appeared to the best advantage. Indeed we do not remember to have heard him do anything better than his interpretation of the "Bell Founder's" part last night. Max Bruch's massive and sonorous phrases were admirably suited to his voice, and the stately dignity of the music was throughout admirably preserved. As the "Master" begins many of the reflective episodes the range of expression is very wide for the bass soloist. It is only justice to Mr. Mills to say that all his renderings were true as well as artistic.—Birmingham "Daily Post," February 9, 1894.
35Ilona Eibenschutz.—Miss Ilona Eibenschütz, the young pianist who is now such a firm favorite at the London "Pops," is only twenty-two years of age. She was born at Buda Pesth, and before she was six had made her first public appearance in Vienna. She studied there for six years under Prof. Hans Schmidt, of the Conservatoire, and some time afterward made an extensive tour through Germany, Hungary, Denmark, Sweden, Norway and Russia, and played with much success at Paris. When thirteen she became a pupil of Mrs. Schumann, and until her education was completed was not heard again in public. Since then she has played at the Philharmonic concerts in Vienna, and in all the chief continental cities.
37"Tristan und Isolde" was performed, and at Graz his "Meistersinger" was heard for the first time, while at Moscow his "Siegfried" was given for the first time in Russian.
39Johann Strauss.—On October 15 Johann Strauss will celebrate his golden wedding to music. He promises for the occasion a new work, probably a new comic opera.
41Enna.—The Danish composer August Enna is said to be writing the music for an opera named "Cain." Owing to his previous quarrels with publishers he has not yet found a firm willing to purchase his new work.
43Naples.—The first representation of "Teresa Raquin," by Ernesto Coop, took place at the Mercadante, Naples. As he was called out only six times the success cannot have been very great.
45Rome.—The Argentine, Rome, promises two new operas, one being "Cavitri," by Mr. Canti.
47Barcelona.—The grand Teatro del Liceo, of Barcelona, which has been closed since the bomb explosion of November 7, was reopened February 6 by a series of concerts given by Nicolau and his orchestra.
49Bronislaw Hubermann.—The first appearance of the little Hubermann at Paris was a real triumph. Among other numbers he played the "Bohemian Dances," by Sarasate.
51Ricordi.—The great Milan house of Ricordi has purchased the whole stock of the publishing firm Tommaso Orlando, of Naples, which comprises many educational works by Triola, Parascandolo, &c., and a quantity of musical compositions of all kinds by well-known writers, such as Albanese, Giannini, Tamburelli, Capponi, D'Atri, Costentino, &c.
53Birmingham Festival.—The novelties for the Birmingham Festival in the autumn will be a new oratorio by Dr. Hubert Parry, a cantata by the late Goring Thomas, and Mr. Henschel's "Stabat Mater."
55Grieg.—Grieg, it is hoped, will be well enough to visit Cambridge on May 10 in order to receive the honorary degree of Doctor of Music, which, but for his illness, would have been conferred on him last June on the occasion of the jubilee of the Cambridge University Musical Society.
57The London Philharmonic.—The eighty-second season of the Philharmonic Society will comprise seven concerts, commencing on February 28 and terminating on June 21. The concerts will be given at the Queen's Hall, under the conductorship of Dr. A. C. Mackenzie. The following works are announced to be performed for the first time at these concerts: New Symphony in E minor, by Dvorák; Symphony No. 2, in A minor, by Edward German; New Symphony No. 6, by Tchaikowsky (first time in England); overture to "King Lear," Berlioz; "Overture D'Ariosto," by Vincenzo Ferrari (first time in England); overture to "Sakuntala," by Goldmark; overture "On an Unwritten Tragedy," in A, by Dr. Hubert Parry (first time in London); "Lustspiel" overture, by Smetana; "Eine Faust Ouverture," Wagner; "Pibroch," by Dr. Mackenzie; "Zigeunerweisen" fantasia, by Sophie Menter (first time in England); Polish fantasia, by Paderewski; fantasia, by Tchaikowsky (first time in England). The repertoire of the season will also include Beethoven's Symphonies No. 4, in B flat, and No. 8, in F; Brahms' Symphony No. 2, in D; Saint-Saëns' Symphony in C; overture, "Meeresstille," Mendelssohn; Beethoven's piano concertos in E flat and G. Dvorák and Saint-Saëns will conduct their own works. The artists already engaged are Mr. Leonard Borwick, Miss Fanny Davies, Mrs. Sophie Menter, Mr. Sapelnikoff, and Mr. Paderewski; Miss Frida Scotta, Mr. Sauret, and Mr. César Thomson; Miss Ella Russell, Miss Landi, Mrs. Amy Sherwin, Mrs. Clementina de Vere Sapio, Mr. Ben Davies and Mr. Oudin.
59Ethel Sharpe.—Miss Ethel Sharpe, the young English pianist, gave a Recital in Vienna the other day with quite extraordinary success. The critics, with Dr. Hanslick at their head, were generous in praise, especially of the emotional qualities of Miss Sharpe's playing.
61MME. JULIA ARAMENTI,
62SOPRANO.
63Concerts, Oratorios, Operas, Vocal Instruction.
64Address: 145 West 82d Street, New York.
66CHAS. A. KAISER,
67Tenor of St. Patrick's Cathedral.
68Open for engagements for Concert, Oratorio or Opera. Address: 130 East 82d Street, New York.
70ZIPPORA MONTEITH,
71Soprano.
72Concert, Oratorio, Vocal Instruction. Guarantees perfect production of voice.
73Address: 227 East 14th Street, New York.
75Mme. FURSCH-MADI'S
76SCHOOL FOR SINGING AND THE LYRIC STAGE,
77129 East 60th Street, New York.
78Beginners taken in Classes. Circulars on application.
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