Scan 19
Musical Courier 1894-10-03: Vol 29 Iss 760, 1894
68 lines. Read by computer on 23 September 2026. Printed page 20. See the scan on archive.org.
1MISS LOTTIE COLLINS and her Troubadours appeared the 24th at the Columbia Theatre in a variety entertainment, which included "The Devil-bird," an operetta in one act, text by Frederick Bowyer and music by John C. Sorg. It was the first production of this operetta, and the composer conducted.
3The leading idea of the piece is older than Mr. Bowyer. It is the same motif that pleased a past generation when it served in the farce "Nature and Philosophy; or, the Youth Who Never Saw a Woman." A boy is educated by a woman-hating father, and when the male servants rebel at the thought of doing laundry work a country girl is smuggled into the house. The young man sees her, falls in love with her, and is told by his father that she is a "devil-bird." His natural reply is, "Papa, buy me that." The father relents, finally gives him the devil-bird as a present, and there is the prophecy of wedding bells. The dialogue of this new piece is singularly old-fashioned and dull, and the music is utterly without distinction. Miss Collins sang discreetly and pleasantly, and although she danced but little, the little gave pleasure. The supporting comedians, Messrs. Dolan, Curran, Ward, Hayes and the Marions, Samuel and David, were earnestly inadequate. One line or one kick of "Ta-ra-ra-boom-de-ay" would have been a welcome exchange for the whole operetta. Yet there is reason to believe that under more favorable conditions Miss Collins would do good work in comic opera.
5The Duff Company opened an engagement the same evening at the Tremont Theatre with a performance of "The Mikado." The following review appeared in the Boston "Journal" of the 25th:
7No matter how many "Madeleines" and "Davy Joneses" may be written, one has to go back to Gilbert & Sullivan, after all, to get a comic opera that will last well and will stand revival after revival by companies good, bad and indifferent. A good audience—not so large as deserved—witnessed the performance of "The Mikado" at the Tremont Theatre Monday evening and found as much enjoyment in the piece as when it was first produced. It was a good performance, taking all in all, but the women in the cast had much to learn from the men.
9Three capital comedians headed the cast: Digby Bell, who was genuinely funny, and who created more laughter when he interpreted such lines as "Senator, here's your sugar," than when he spoke the lines of Gilbert; Edwin Stevens, who invested the part of the "Mikado" with more grotesqueness than many of his predecessors, and William McLaughlin, whose deep voice admirably suited the music of "Poo Bah."
11Laura Joyce Bell is the only actress in the cast to whom unstinted praise can be given. She was an admirable "Katisha," one of the best that has ever been seen on the Boston stage, and deserved the warm reception which was accorded her.
13Adele Ritchie, the "Yum Yum," sang "The Moon and I" with good effect, but she surely could not have looked in a mirror before appearing before the footlights, for had she done so she would have added to her make up so as to make the effect of black wig and blonde eyebrows less nightmareish than it was. Miss Burke was the "Pitti Sing," and her vocal work secured applause after some genuine Japanese girls had tried to sing. It was only then that her voice was appreciated. The male chorus did excellent work, and the female chorus was above the average, while the Japanese maidens, who presided over a booth in the lobby, executed a dance that was novel and graceful.
15The Thirty-seventh annual festival of the Worcester (Mass.) County Musical Association, Carl Zerrahn, conductor, Franz Kneisel, associate conductor, took place at Worcester, in Mechanics' Hall, September 25, 26, 27 and 28. Tuesday evening, the 25th, "Elijah" was given with these solo singers: Miss Caroline G. Clarke, Miss Gertrude M. Stein, Messrs. W. H. Rieger and E. F. Bushnell. A concert was given the afternoon of the 26th in which Beethoven's Fourth symphony and pieces by Bach, Saint-Saëns and Weber were played by the orchestra; Miss C. G. Clarke sang songs by Franz, Grieg, Schumann and the solo in "Fulcite floribus," from "Phoenix Expirans." Verdi's Requiem was sung the evening of the 26th, with Mrs. Monteith, Mrs. Wyman, Messrs. Rieger and Campanari as the solo singers.
17At a concert the afternoon of the 27th the orchestra played the "Romeo and Juliet Symphony," by Berlioz, and two pieces by Johns; Mr. W. C. Carl played with orchestra Händel's Seventh organ concerto, arranged by Guilmant ("first time in America"); Mrs. Monteith and Mr. J. H. McKinley sang arias by Verdi ("Ritorna Vincite") and Massenet (from "Werther"), and the chorus sang Händel's "Zadok the Priest." Thursday evening was Artists' Night. The orchestra played Wagner's "Faust" overture, "Carneval Romain," Berlioz, and "Rêve apres le bal," Czibulka. The soloists were Mrs. Guthrie-Moyer, Mrs. Juch, Mrs. Alves, Messrs. Schott, Rieger and the two harpers, Edmund and Heinrich Schuecker. There were arias by Braga, Wagner ("Dich Theure Halle," sung by Mrs. Moyer, and "Graalerzählung" from "Lohengrin," sung by Mr. Schott), Verdi, Weber and the duet from Act I. of "Die Walküre," sung by Mrs. Moyer and Mr. Schott. Then there were selections from Rubinstein's "Paradise Lost."
19Friday afternoon, the 28th, was devoted to the memory of Tchaikowsky and Gounod. Mrs. Juch sang three songs by the former. Mrs. Rivé-King played his piano and orchestra fantasia, op. 56, and the orchestra played the andantino and scherzo from his Fourth symphony. The selections from Gounod were "Sanctus," from "St. Cecilia Mass" (Mr. Clarence B. Davis and chorus); "Hymn to St. Cecilia," in which Mr. Kneisel played the violin obligato; air from "Queen of Sheba," sung by Mme. Juch; trio, prison scene, "Faust," sung by Mme. Juch, Messrs. Davis and Dufft, and the chorus, "Unfold ye portals," from "The Redemption." The festival closed Friday night with Saint-Saëns' "Samson and Delilah," in which the solo singers were Mrs. Alves and Messrs. McKinley, Dufft, Babcock and Charles I. Rice.
21No new work, orchestral or choral, of any dimensions was given at this festival, and yet the programs as a whole were better chosen and arranged than at the three preceding festivals. There was little that was trivial, there was nothing that was absolutely vulgar.
23But the performances of soloists and chorus did not reach the average of last year. Still, to criticise each singer in detail would now be an unnecessary and wearisome task, as they are nearly all known to you, as are their merits and their shortcomings.
25Nevertheless, it is a pleasure to mention the admirable singing of Mrs. Alves, which, judged from the pedagogic standpoint, left almost nothing to be desired. Her voice is so under intelligent control, her tones are so pure and even, her phrasing is so thoroughly studied and yet so apparently spontaneous that she delights both musician and amateur.
27At the same time "Delilah" is a rôle that makes severe demands on temperament, and at times calls for scene painting rather than miniature-like detail. Happy perhaps is that woman who cannot enter sympathetically into the full portrayal of such a part; yet, when it must be sung, the singer should be a devouring flame.
29Mrs. Wyman has gained in breadth and authority since she was last heard in this country. Her voice, as of old, is rich in color and in perfume. It is a sensuous voice, and the sensuousness just escapes animality. But artistic taste restrains sensuality, and the passion, if at times sombre, melancholy or dazzling, is noble. The singer has not tarried in Byzantium. And viewed technically, her performance called for naught but praise.
31Miss Stein made a favorable impression, and deservedly, although in "Elijah" she had little chance to show the compass of her voice or her dramatic feeling. Mr. Rieger did excellent work in the "Requiem." Mrs. Monteith was heard at her best in the air from "Aida." Mrs. Moyer was recalled and sang the "Venzano Waltz," to the evident delight of the audience. Mr. Schott declared "Lohengrin's" story of the Graal with effect, and then gave as an encore "The Two Grenadiers." His voice was fresher and under much better control than when he sang here in opera last season.
33Mr. Edmund Schuecker, the harper, displayed a remarkably beautiful tone, a genuine cantabile and an impeccable technique; but, I am sorry to say, I was disappointed in Guilmant's arrangement of the Händel organ concerto, which was played by Mr. Carl on an organ that served him treacherously. I know how fond Guilmant is of honoring the masters of past centuries, but it seems mistaken reverence to disturb this dead and buried concerto, with its first movement full of dull, senile chatter, its second with a few measures of quiet beauty, and its third that seems repugnant to the character of the organ.
35The work of the orchestra was almost always excellent, and it often was wholly admirable. Mr. Zerrahn appeared to be refreshed by his European visit, and Mr. Kneisel showed genuine talent as a conductor.
37The chorus, which numbered on paper 515, was heard to best advantage in the "Requiem," although in this work there was too often a non-observance of nuances. In "Elijah" there was too much self-complacent boisterousness; and in "Samson and Delilah," while the performance was respectable, there was naturally too much of the conventional, oratorio, psalm singing spirit, in short the performance was too respectable.
39I am informed that the financial result of the years of 1891, 1892 and 1893 was a deficit of $3,000 or $4,000. Mr. Munroe, the president of the association, told me Saturday that he was unable to give the result of this season, but that the association would probably "come out just about even."
41Some complained in Worcester that the soloists as a class were not of great reputation, and argued therefrom a lack of public interest. But the hall was crowded Artists' Night, and the applause was hearty and indiscriminate. Then, too, the managers might say, "Where will you find any better singers?" The answer to this is: "Hold your festival in the spring. Then there are singers of international reputation open to engagement. If you wish a thoroughly trained and dramatic soprano or tenor look over the rôles of the opera companies. If you wish a brilliant concert singer, there is a Melba or a Nordica. The market will then be full of virtuosos of every kind."
43As for the chorus, I do not believe in bulk. As musician and as hearer, I do not believe that any "grand chorus" makes for musical righteousness. And yet such is the condition of music at present in nearly every festival town that a sincere attempt to give properly a work with picked singers and faithfully rehearsed orchestra would be undoubtedly a suicidal policy, so far as the pecuniary support of the public is concerned.
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47The sale of the Symphony tickets was sane and steady. To quote from the Boston "Herald" apropos of the first sale for the Friday afternoon rehearsals: "While there was no very great competition there was a steady demand at good premiums. There was plenty of sharp bidding at times up to a certain point. The 'gilt edged' seats were those in the centre and the first row of the balcony, and these brought the 'gilt edged' prices. The tiptop premium of the day was $92, which was bid for three seats, R 17, 18 and 19, 17 being on one side of the centre aisle and 18 and 19 on the other. This premium of $92 made the cost of each ticket $104. The second highest premium of the day was $76 for a seat in K. The seats from H down to O were in greatest demand, and the prices in these rows ranged from $35 to $65 or $70."
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51Mr. Woolf's new comic opera has been secured by Mr. R. M. Field, and it will be immediately put in rehearsal at the Museum. "Prince Pro Tem" will see its 100th night the 5th.
53At the dedication of the new Music Hall, Pawtucket, R. I., the 10th, Mr. Jule Jordan's new cantata, "Barbara Frietchie," for soprano solo, chorus and orchestra, will be produced by the Arion Society of Providence, of which Mr. Jordan is leader.
55Mr. Franz Kneisel has purchased of his former teacher, Professor Gruen, of Vienna, his world famous Stradivarius violin, which is of the maker's best period, 1717. Mr. Kneisel paid $5,000 for it.
57The Melba Concert Company will be heard here in Music Hall, October 23 and 27.
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61As you know, Mr. Edward E. Rice applied for an injunction to restrain Miss Camille D'Arville from playing or singing for anyone in the United States or Canada unless with him.
63In the Supreme Court yesterday Justice Holmes rendered his decision, refusing the injunction. As this decision is of great interest to singers and managers, perhaps you would like it in full:
65This is a bill to restrain the defendant from rendering services at any place of amusement in the United States or Canada, except under the management of the plaintiff, during a term for which the defendant agrees to sing for the plaintiff. The contract is admitted and contains an undertaking not to render services for others in the terms of the injunction asked. The defenses relied on are that the plaintiff, since the making of the contract, has failed to pay the defendant a considerable sum due her, under an earlier and similar contract, and upon a note payable on demand, given for a part of that sum; and that he is not pecuniarily responsible, and also that the defendant only undertook to sing as prima donna in comic opera, but that the plaintiff has called upon her to sing in "Little Christopher Columbus," which is said to be a burlesque in the present sense of that word; that this is outside her contract, and that if she should accept the part it would injure and lower her position on the stage. Upon all the evidence I construe the defendant's contract as she construes it. Indeed the plaintiff did not much oppose this construction. It appears that the music of "Little Christopher Columbus" was, as well might be, comic opera music, and the contention was on the words, and the effect of the words, as giving character to the piece. On such rapid reading as I was able to accomplish while the trial was going on, should think they were perilously near the line, and that within the term such things are apt to receive in this country, seemingly to the greater satisfaction of the public, the play was very likely to become what I, at least, should consider nearer to a burlesque than to any more dignified kind of performance.
67It is agreed on all hands that a court of equity will not attempt to compel a singer to perform a contract to sing. I shall assume that this is the law. Not that the court has not the same means at its disposal to compel the performance of this act as any other, but, apart from any other consideration, perhaps because just in proportion as the artist's work rises in the scale of excellencies, it becomes increasingly difficult for the court to follow the performance on evidence after it has taken place and to decide whether the artist in good faith and really has given the other party the benefit of the gifts on account of which he was engaged. But if this is so, as is admitted, it appears to me, with all respect to judges who may have taken a different view, that there is no sufficient justification for saying to an artist that although I will not put him in prison if he re-
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