Scan 16
Musical Courier 1894-06-20: Vol 28 Iss 745, 1894
118 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
1BOSTON, Mass., June 17, 1894.
3MR. HARRY ASKIN'S company gave "The Pirates of Penzance" at the Tremont Theatre the 11th. Mr. Julian Edwards was the conductor. The cast was as follows:
5Richard………………………………………Wm. McLaughlin
6Samuel………………………………………Lindsay Morrison
7Frederic………………………………………Clinton Elder
8Major General Stanley…………………….A. F. MacCollin
9Edward………………………………………Geo. W. Wilson
10Mabel………………………………………….Camille d'Arville
11Kate…………………………………………..Maud Hollins
12Edith…………………………………………..Hilda Hollins
13Isabel…………………………………………..Trix Friganza
14Ethel…………………………………………..Nannie Morse
15Ruth…………………………………………..Kate Davis
17The opening performance of a two weeks' run was not entirely satisfactory. There were evidences of too hasty preparation, and the chief comedians, with the exception of Mr. MacCollin, showed unfamiliarity with the intentions of the librettist. Mr. McLaughlin was constantly overdoing. Mr. MacCollin, who certainly understood the business of the part, rattled off his patter song at such a rate that the words were not to be distinguished. Mr. Wilson's sergeant of police was dry mannered, uninteresting and vocally inadequate. Miss Davis was more devoted to Frederic than to the true pitch. The chorus, although it contains good vocal material, was more pleasing to the eye than to the ear. Charming as ever were the Misses Hollins; and Miss Friganza, who seems to suffer as to the head from injudicious praise, was disposed to lavish upon the audience collectively attentions which, if bestowed individually, and in a more secluded place, might justly be applauded by the favored one.
19Miss D'Arville at her entrance received what is known to the passionate newspaper reporter and head-line writer as an "ovation." To be sure, no sheep was killed in sacrifice; but as she entered on foot and not in a triumphal chariot, let us not quarrel about the justness of the epithet. The applause was deafening and long continued, such as might greet the appearance of a saviour of a nation.
21The part of "Mabel" does not seem suited to Miss D'Arville, although she bore away the vocal honors of the evening, an easy, a very easy task. She took herself too seriously. She was Medea looking at her children through red eyes. She was Leonora without the tower. She was anything and everything but "Mabel." And I respectfully suggest to her to look after her voice; to avoid explosions on her upper tones; to remember that in an operetta and in a small theatre it is not really necessary to shout.
23I am told that the performances which followed were better. The business at the theatre has been excellent.
25* * *
27Operetta, as well as opera, is a thing of fashion, and it is not surprising if some say that "the reign of Gilbert and Sullivan is over." They base this statement on the fact that the wittiest or the most humorous lines of Gilbert shot over the heads of the hearers, or if they hit them, they stunned them, and the hearers could not laugh.
29Now in the Gilbertian operetta the lines are everything; the action and the situations are of little moment. There is no place for the acrobatic comedian.
31When these operettas were first given in the United States they were sung for the most part by companies recruited from church choirs. Few of the singers had dramatic experience. They were content to speak the lines distinctly. They were anxious to sing well. And thus they often served admirably, even at times by their awkwardness, the purpose of Gilbert.
33The first leading comedians seen in these parts were occasionally imported, and knew Gilbertian training. Do you remember the unctuousness and the cockneyism of that "Sergeant" sent over by D'Oyly Carte; was his name Clifton? And although I do not know whether Gaston or Seymour, delightful "Bunthorpes," were from England, they nevertheless understood the character, and did not turn the fleshy poet into a horse collar comedian or a song and dance man.
35Even Mr. Barnabee was comparatively timid then in his comic undertakings, and, although he no doubt secretly preferred the humor of the "Cork Leg," he showed the librettist outward respect.
37But a race of so called operetta comedians arose that knew not Gilbert. There was Dixey; there was De Wolf Hopper; there was Digby Bell. I do not deny that at times these comedians were and are amusing in what is now known as comic opera. Their object, however, is to amuse at any cost. Their parts must be fatted, even if the librettist suffer from consequent leanness. If the composer's music is beyond their power they fake it, or turn to a tune writer for the gallery. They bow to the omnipotent gag. They lie awake of nights with the thought of an irresistible topical song.
39With these comedians entered into activity the comic opera fleshly chorus. Large and pulpy women were selected, and then arranged on the stage according to the gifts of nature. A heaving breast covered the fault of a brass voice; a generous leg was more to be praised than a fine ear. When the comedian was tired the chorus served to rivet the attention of the elderly sports that had dined heavily and had money to spend, of college students that burned to gain the envied degree of a Master of Wine Opening, and of all hardened or callow rounders.
41The comic opera soon became a compound of clowning, gags, lime light and female flesh.
43* * *
45This form of musical entertainment was mounted sumptuously. It was provided in abundance. Little by little the people were persuaded to believe that this form was the most acceptable. The managers now say, if you ask them why they do not attempt at least to give the public performances of light operas of musical worth, or even specimens of "opéra comique," "We give just what the public wants."
47Debauched by the comic opera described above, and by the farce comedy in which songs enter, the audience of today is no doubt in a measure disappointed at the rôle played by the chorus girl in a Gilbert and Sullivan operetta; it wonders why there is so much talk; it asks why the leading comedian does not do something to arouse a laugh; it misses the favorite allusions to poker and baseball, racing and the mother-in-law.
49Yet these operettas of the better English school are still able to draw a crowd—in Boston, at least—and it is a good sign.
51* * *
53Do not misunderstand me. There is nothing nobler to the sight in this world than a handsome, well built woman, Schopenhauer to the contrary notwithstanding. If the part played by her demands a most liberal display of her body she should undrape and rejoice in her beauty; and may I be there to see! But unnecessary or incongruous nudity is impertinent, inartistic.
55The whole structure of comic opera should not rest largely upon the accented hips of a woman.
57* * *
59What encouragement is there at present for an American composer with an operetta worthy of attention? Take the case of our young friend Blivens, a musician of acknowledged parts. He writes pretty and sparkling numbers; his concerted pieces show invention and technical skill.
61He takes his operetta to a company, say "The Bostonians." And is there a part for the exhibition of Mr. MacDonald's manly charms? And is there a sentimental song for Mrs. Davis? And is her part liable to be more popular than that of the soprano? And is there a merry-go-round for Mr. Barnabee's benefit? Unless Mr. Blivens is willing to turn accommodating tailor and cut his cloth to the requirements of this company, he must go further with his wares.
63Suppose that he finds finally a manager that accepts his operetta on the condition that there may be "slight changes made if necessary." The first performance is over. The comedian says "There's too much music. I've got to have a song that will hit the public." Out goes Blivens' sparkling air, which his friends had thought worthy of Auber; in its place appears a ditty about O'Mulligan or Slattery. The soubrette, often the wife of the comedian, a wife for life or for a season, thinks the leading soprano has too much of the stage; powerful in petty malice, she has her way or else the comedian would not be able to laugh and make laughter. Bang! out goes Blivens' favorite bit of sentiment. The chorus is not sure of a finale, and the conductor knows a better one which he happens to have in his portfolio. In goes the tum-tum-tum of Sig. Vesuvio and out goes the carefully elaborated work of Blivens. Or two acts are stretched into three, to admit of the introduction of variety business, specialties from a serpentine dance to an imitation of the Wild Man from Borneo. At the end a fortnight Blivens does not recognize his child. He blushes, and with good reason, when he is alluded to as popular composer of "The Lady of Gloucester."
65There are many young men and women who sing acceptably or show marked promise for the future. They would be glad to have an opportunity in light opera. The composer would certainly prefer them to the spoiled darlings that spoil his music. There may yet be a swing of the pendulum in their direction. The revival of old-fashioned operettas may at least here in Boston bring a change of taste for the better, and give the young singers a chance to prove their stuff.
67* * *
69Miss Gertrude Franklin gave a song recital at Dartmouth College last week with flattering success.
71Mr. Timothee Adamowski was sick last night, poisoned as to his stomach, and Mr. Max Zach ruled in his stead at the Promenade concert.
73At the second "American Composers' Night" at the Promenade concert, the 19th, pieces by Zach, Foote, Knecht, De Koven, A. Whiting, Chadwick (Bacchanale, first time), Thompson, Nevin, O'Shea will be given.
75"Falka" will be given at the Tremont the 25th. George Frothingham and Peter Lang of the Bostonians join Mr. Askin's company to-morrow.
77Julian Edwards has composed a march which will be played to-morrow evening at the Tremont. To-morrow is "Bunker Hill Day," as the holiday really falls on this Sunday, and Miss D'Arville will sing "The Star Spangled Banner," with the entire company as chorus. You will probably hear the tune in New York.
79John Mason and his wife, Marion Manola, have hired the Park Theatre for a short engagement. They make their first appearance in "The Mascotte" the 21st. The cast will include George Wilson, Daniel Jarrett, Trixy Friganza, Marie Broughton, a sister of Julia Marlowe, Blanche Ring, Lindsay Morrison and H. C. Lonsdale. Mr. John J. Braham will be the conductor.
81Mr. George W. Chadwick will spend the summer at West Chop.
83Mr. Carl Zerrahn arrived recently in Malchow, Mecklenburg, his birthplace. He was received at the railway station by the chief editor of the leading newspaper. After he arrived at the hotel the burgomaster called on him. Mr. Zerrahn had delightful meetings with people of the town with whom he was associated in his youth. He was invited, the evening of the first day of his visit, to a garden concert. At his entrance the orchestra paid him the honor of a salute. Surprised and affected by the reception, after a few moments he found words of thanks. Mr. Zerrahn will travel extensively through Germany, and will be at Bayreuth for the performances of Wagnerian opera.
85PHILIP HALE.
87The Requirements of a Vocal Teacher.
89THE requirements of a vocal teacher are many and varied, most prominent of which are voice, sensitive ear, knowledge and gift of phrasing, breathing, elocution; ability to give exercises for controlling lips, soft palate and tongue, so as to enlarge the tone, as well as exercises for breathing (midriff); also ability to sing (should the teacher have a baritone or bass voice he can sing the higher notes with his falsetto voice) almost any passage for the pupil, as they learn far more readily by imitation than by any other means.
91How many of our vocal teachers fulfil all these requirements? Alas! very few, as is proven by the fact that it is a rare occurrence to hear a singer that combines a full, round tone with artistic phrasing and perfect enunciation.
93There is no reason why every word of a song sung in English should not be heard as distinctly as is Lilli Lehmann in German or Mr. Plançon in French; in fact the latter artist (a veritable artist, indeed) sang a song in English—his first attempt I believe—at a concert last winter, when every word could be heard distinctly. We seldom hear any of our native singers enunciate so that you hear every word. When you do meet this rara avis notice the enthusiasm of the audience. Enunciation is a much neglected part of the vocal education in America; but the saddest fault of all, and the most frequently met with, particularly in female voices, is the forcing of the chest register too high.
95W. O. WILKINSON.
97Zippora Monteith.—Zippora Monteith has been engaged to sing at the Round Lake (N. Y.) Festival from July 24 to 28 with the Germania Orchestra.
99During the Summer Months
101Vocal Teaching in all the branches, with well-known assistant teachers.
103Mr. MARTIN ROEDER,
104178 Tremont Street, Boston,
105Is the leading exponent of the Lampertl Method in this country. Pupils of world wide reputation.
107SEND FOR CIRCULARS. New Term begins 1st July.
109SUMMER STUDY AT ASBURY PARK.
111Mr. Louis Arthur Russell
112Announces a Summer School of Music and Oratory at Asbury Park (on the sea, Monmouth County, N. J., during July and August, where with competent assistants he will conduct special Normal Classes for teachers and earnest students, in fortnightly terms, one or two lessons per day. All branches of
113Voice Culture and Singing, Piano and Method, Classes in Virgil Clavier, Method's Vocal and Technique, Harmony, &c. one of two readings
114Voice Culture and Singing, Piano and Method, Classes in Virgil Clavier, Modern's Touch and Technique, Harmony, &c. one of two readings
115Applications now received and dates placed at the
116Newark College of Music, Music Hall, Newark, N.J.
117L. BAYLIS, General Secretary.
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