Scan 12
Musical Courier 1894-10-03: Vol 29 Iss 760, 1894
109 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Wagner, and the wonder of wonders is that so much was allowed him at this doubtful time. But his power of convincing people was great, and then he was always supported by a small coterie of ardent friends among the French musicians, artists and writers.
3Neumann, Mmes. Sax and Tedische were among the interpreters. MM. Vauthrot and Croharé, chefs de chant of the Opéra at the time, were sympathetic and efficient co-workers. Through a personal disagreement of some twenty years' standing he was subjected to much annoyance at the hands of the chef d'orchestre. He was especially pleased with decorations and costumes, and with the correct artistic and dramatic sense of the French, once he could enlist their co-operation.
5The task was to persuade people beforehand! What a wonder that a man of his creative genius, artistic sensibility, a foreigner of an antagonistic people, a creator of innovations and overthrower of conventionalities, and moreover a man of sufficient power to be an object of jealousy and envy, should have been able to achieve practically what he did at this time!
7Think of the force that underlay that character! Reflection upon it is enough to make puny people wither up and blow away.
9Does it not seem indeed that what people call "the force of circumstances" is after all only the weakness of men?
11It does not seem that the interruption of Richard Wagner's work in Paris at this time, and the consequent withdrawal of "Tannhäuser" before the fourth representation, was in any way representative of the French musical spirit.
13The greatest violin artist can be made to throw up his hands by the interruption of a discordant cow bell.
15The interruption of "Tannhäuser" was the work of hoodlums. The Paris Jockey Club had been accustomed all its blase life to a ballet in the middle of its theatre. It must have its ballet—Oh, where was its ballet? It went out and loaded itself with tin whistles from a neighboring toy shop. It would cry, it would scream, it would throw itself upon the ground and shriek if it would not get its ballet. And it did that very thing. The cow bell clanged and dinned. The management, commercial and artistic, was equally powerless. The legless opera was withdrawn and baby was appeased. Thousands of people, as well as the greatest artists of the earth, were put to rout by one club and its tin whistles.
17The task of translation was the first stumbling block that Wagner found on first facing the unlinguistical French capital in 1859.
19It is touching to hear of this great man's almostchild-like joy at hearing in the first place of a certain tenor, Roger, who had sung much in Germany and so knew something of the tongue, and who, moreover, being confined to his home by a sprain had leisure to talk to the composer! The latter's impatience was extreme on learning that the singer lived some distance from Paris, and one or two days must elapse before a visit could be arranged. On arriving at the home, which was surrounded by archaeological treasures, he never even glanced at them, but bolted straight toward the piano, where his nervous fingers fairly clamped the keys, and his eyes filled with moisture under the sympathetic and intelligent rendition of certain portions of the opera, for the singer, enthused by the work in Germany, had already translated one or two passages. But his artist duties called him from the work, which then passed into the hands of Nuitter, archiviste de l'Opéra, a successful writer of plays, a born Parisian, linguist and poet. The work though difficult was a labor of love for the translator, especially under the inspiring influence of the master.
21Among his other works of value are some sixteen light plays, all popular: "Le Manteau de Joseph," "Les Jours goas de Madame," "La Perruche de mon Oncle," "M. et Mme. Crusoe, &c.; seventeen operas written in collaboration—"Les Bavards," "Vert-vert," "Trebizond (with Offenbach)," "Jeanne qui pleure et Jeanne qui rit," "Les Oreilles de Midas," "Le Fîfre Enchanté," "Amphitryon," &c., and an opéra comique in three acts. He has also written several ballets.
23His book "Le Nouvel Opéra, a detailed artistic treatment of the treasures of the new opera house collections of ancient documents, autographs, designs and interesting official decrees are labors of great historic value for which France is deeply indebted to M. Nuitter. He has been decorated with the Légion d'Honneur, and enjoys the esteem and affection of all French artists.
25Graceful, alert, wholly cordial, modest and enthusiastic in his peculiar profession, strangers as well find him delightful.
27Among his other translations are "Roméo et Juliette" (Bellini) "Oberon and Preciosa" (Weber), "La Flute Enchantée," "Macbeth" (Verdi), "Aida," "Doctor Crispin," "Les Masques" (Pedrotti), &c.
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31In that first representation of "Tannhäuser" Neumann, the tenor, received per month 6,000 frs. Faure was offered 5,000 frs. as "Wolfrom," but, demanding 8,000 frs., Morelli was chosen instead at $3,000 frs. Cazaux, as "Landgrave" got 1,500 frs. a month, Mme. Tedesco 6,000 frs. as "Venus," Mme. Sax, as "Elizabeth," 1,000 frs.
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35The first-rank national theatres of Paris, Opéra and Comédie Française, do not close during the summer. The Opéra Comique and Odéon close for two months. Usually so great is the influx of strangers during "vacation" that the local migration is scarcely observable at the box office of the Opéra. This summer, however, owing to a monotony of répertoire, the result of the recent burning of costumes and decoration, the receipts have been below par. Although strangers are glad to get anything during their stay the summer performances are by no means representative. The best artists are away, and the nicety of care in detail is lacking.
37In the past weeks "Salammbô," "Faust," "Roméo et Juliette," "Lohengrin," and the inevitable "Dalila" have been rung round and round. Rose Caron returned in the first, with M. Saléza as "Matho," Renaud as "Hamlicar," Dubuile and Vaguet. Mme. Bosman sang "Elsa" in "Lohengrin." Mlle. Breval made her rentrée in the "Valkyrie," and Carrère in "Faust." one of two readings
38In the past weeks "Salammbô," "Faust," "Roméo et Juliette," "Lohengrin," and the inevitable "Dalila" have been rung round and round. Rose Caron returned in the first, with M. Saléza as "Matho," Renaud as "Hamlicar," Dubuile and Vaguet. Mme. Bosman sang "Elsa" in "Lohengrin." Mlle. Breval made her entrée in the "Valkyrie," and Carrère in "Faust." one of two readings
40Mlle. Lafargue, the young graduate of the Conservatoire, is studying the "Desdemona" rôle in "Othello," which Caron and Bosman will sing. That is a quick step in advancement for her. Delmas and Noté are filling Maurel's place in rehearsal till that "Iago's" return on the 15th. In "Tristan et Iseult" (not to appear before April), Van Dyck will personate "Tristan;" Breval, "Iseult;" Renaud, "Kurwenal," and Delmas, "Marke the King."
42The interest of the Opéra Comique has been centered around Fugère's appearance as "Falstaff," and the natural comparisons between him and Maurel, the creator of the rôle. It is no easy thing for one to step into another's shoes in that way, especially when the Milan actor had been specially chosen by Verdi to represent Italian thought, and a Frenchman succeeds him before the critical eyes of the two nations. It is all the more risky when the actor has the reputation to sustain that Fugère has.
44Both singing and acting were exceptional. The result was an unquestioned triumph. He was recalled four times in the "Page" song, each rendition being wholly distinct and original. Fugère has made success in "Le Roi malgré lui," "Phryné," "Le Filibustier" and "Le Portrait de Manon," all of distinct types.
46Mlle. Laisné succeeded Mme. Landovzy as "Nanette," and Ford replaced Soulacroix as "Badiali." Delna, Chevalier, Clement and Grandjean took the same parts as last year.
48There is a general feeling that Delna is "forcing" her voice, and that if she keeps on she will not have any in five years. It is amusing now to listen to disputes for the "ownership" of Delna by singing teachers. One man even records how he "might have had her," but finding her gauche and rude fearing the effect on his "standard" of "teaching a pupil for nothing," he declined the unknown honor!
50(Oh those singing teachers! One could write three letters every week treating of their pettiness.)
52Mme. Brejean-Gravien interpreted "Manon" in the renewal of that popular rôle, with Leprestre and Isnardon for company. Nikita will sing later in "Mignon" and "Lakmé." "La Vivandière" has been postponed till the end of the season, owing to the illness of M. Godard. "Paul et Virginie," by Victor Massé will be given this season with Mme. Saville and M. Clement in the principal rôles, Fugère Delna and Bouvet in the cast. Coupland Mme. Ritter were the "Paul" and "Virginia" in 1876. Mme. Saville is a young singer who has made success in England and Russia. Miles. Wyns and Leclerc have been increasing their young reputations also at the Opéra Comique. "Guernica," for which Paul Vidal has written the orchestration and an act by Michel Carré and Gédalge will be given also later on. "Les Noces de Jeannette," "Le Pré aux Clercs," by Herold, "Cavalleria," "Lalla Rookh," "La Nuit de Saint Jean" and "Carmen" have been keeping M. Carvalho's audiences amused with other things this month.
54Massenet has been in town caring for "Manon." He looks happy over it, is brown and fat, and gay and courteous as ever.
56There is a question of having three chefs d'orchestre at the Opéra Comique, but details are not definitely arranged as yet.
58Extra Sunday soirées will be given at the Galerie Vivienne, which, in common with others of this type, has reopened with entire renovations. "Ma Tante Aurore," by Boieldieu; "Divorce de Pierrot," by Lénêka and Gaudrey, music by Ravera; "Rose et Colas," by Monsigny; "l'Eclair," by Halevy; "Marie," by Herold; "Falstaff," by Adam; "Les Voitures Versées," by Boieldieu, and "l'Epreuve Villageoise," by Grétry, will form the very excellent program for the season.
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62The "undress rehearsals" of the Paris café concerts are in full swing. All the secrets of the feminine toilette and wardrobe, including bathing and sleeping séances, are being nightly disclosed to overflowing houses. People now go to see if on earth "anything has been left unsaid." What will they do for attraction, at this rate, before the season is over? There is not mystery enough in human life to last till Christmas, when they begin with "beauty in a bathtub," to the slow music of "cherries and beer."
64Yes, certainly. French taste is "eclectic."
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68Since the discussion about invisible orchestra the big, noisy band in front of the stage has become very troublesome.
70As the Frenchman said with real Irish wit (the only joke I have heard in France in eight months): "Unless a man is deaf he cannot hear what is said on the stage for the noise in front of it!"
72This is especially true here where the voice (speaking voice) is thin and uncarrying and the language delicately tinted. Without doubt a great deal of the strained and artificial declamation on the stages of all countries is due to the effort to talk against the orchestra. Then the baton tapping, frowning, nodding and gymnastics of a more or less excitable conductor are very offensive when you come to think of it, and the red faced blasts of fat trombonists in tragic passages are all but "illusive."
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76"Carmen," 3 hours 40 minutes; "Mignon," 3 hours 30 minutes; "Falstaff" and "Le Barbier de Seville," 3 hours 15 minutes; "Zampa," "La Dame Blanche," "Roi d'Ys," "Midsummer Night's Dream," 3 hours 20 minutes; "Pré aux Clercs," 3 hours 7 minutes; "Mireille," 2 hours 15 minutes; "Daughter of the Regiment," "Richard Cœur de Léon" and "Le Domino Noir," 2 hours 15 minutes; "Le Maître de Chapelle," "Bonsoir Voison," "Noces de Jean-
78INNES and his Famous New York Band of 65 eminent soloists, now playing at the Pittsburgh Exposition, seven weeks ending October 20, has just completed a triumphantly successful tour of forty Eastern cities, producing the finest Historical and Musical Spectacle of a War and Peace.
80Everywhere hailed and acclaimed as the grandest musical spectacle of the age, performed by the greatest band in the world. Theatres were overcrowded and street cars utterly inadequate to carry the crowds to parks where the band played. The most successful of a band's tours.
82THE FALL TOUR will commence October 22. The band will carry its own famous artillery accompaniment, great vocal quartette, etc. to be assisted by local choruses, military (armed) war veterans, auxiliary bands, fife and drum corps, etc.
84For terms, dates, etc. address F. N. INNES, HOWARD PEW, Business Manager. Exposition, Pittsburgh, Pa.
86New Haven Palladium: Innes' Band drew nearly 10,000 people to Savin Rock yesterday in spite of rain.
87New Haven Leader: Innes' Band gave the best concerts of the kind ever heard here.
88Bridgewater Daily Farmer: Fully 15,000 people visited the Innes' Band production of "War and Peace." The scene beggars description. Innes out-Gilmore's Gilmore. one of two readings
89Bridgport Daily Farmer: Fully 15,000 people visited the Innes' Band production of "War and Peace." The scene beggars description. Innes out-Gilmore's Gilmore. one of two readings
90Saratoga Times: The mantle of Gilmore has fallen on Innes.
91Baltimore American: An outstanding ovation greeted Innes at Ford's. Baltimore Sun: An extraordinary charge was delivered.
92Lancaster News: "War and Peace" was the greatest affair in the history of the park.
93Scranton Truth: The most admirable band concert Scranton ever heard. In "War and Peace" the audience rose to its feet in enthusiasm, and the performance is the uppermost topic in Scranton-to-day.
94Pittsburgh Sun: No departure from anything of the kind ever attempted. It is well conceived and the result picturesque and admirable. A great band.
96Song and Piano Recital Tour OF THE German Baritone AND Piano Virtuoso, FELIX HEINK, in United States and Canada. SEASON 1894-95. Arrangements may now be made by addressing, Leon Margulies' Concert Bureau, Carnegie Hall, New York. one of two readings
97Song and Piano Recital Tour one of two readings
98OF THE one of two readings
99German Baritone one of two readings
100AND one of two readings
101Piano Virtuoso, one of two readings
102FELIX HEINK, one of two readings
103in United States and Canada. one of two readings
104SEASON 1894-95. one of two readings
105Arrangements may now be made by addressing, one of two readings
106Leon Margulies' Concert Bureau, one of two readings
107Carnegie Hall, one of two readings
108New York. one of two readings
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