Scan 17
Musical Courier 1894-11-21: Vol 29 Iss 767, 1894
76 lines. Read by computer on 20 September 2026. Printed page 18. See the scan on archive.org.
1pianissimos. His execution is extremely facile and certain, and his capacity in this respect leaves nothing to be wished for. Double stopping, arpeggio, chromatic work and harmonic notes were all distinct and correct. His selections were sufficiently varied to meet the demands of all tastes.
3Frau Doering-Brauer is a very genial and pleasant looking lady, and her piano playing accords with her appearance; it is genial, bright and ready, with no lack of power, and great execution and technical fluency.
5SOME PRESS NOTICES OF MARIANNA DOERING-BRAUER.
7Dresden.—A feature of the program was the appearance of the young pianist Miss Marianna Brauer, who executed the Beethoven sonata, op. 109, a Moscheles' etude and the "Rigoletto" fantasia of Liszt. Eminent taste and a comprehensive technic were the chief characteristics of her style, and the applause was so endless that the artist was induced to play for an encore Bertini's "Pollacca."
9Berlin.—Miss M. Brauer played with orchestral accompaniment Mozart's wonderful C major concerto. The young artist commands a splendid technic; but what touched us especially at her performance was the beautiful, easy and soft touch. The greatest applause rewarded her excellent playing.
11Warsaw.—In the pianist Miss Brauer we recognize an artist who possesses the power to win the hearts of her hearers through her noble and attractive style. Her clear and intelligent performance of the technically difficult and deep souled sonata, op. 109, of Beethoven, showed clearly the diligence that the artist has devoted to his study. An unusually artistic conception of the spirit of this work and a brilliant technic that easily overcame every difficulty won for her a most complete success.
13Prague.—In Miss Brauer we have learned to recognize a perfect artist. A consummate technic, deep sensibility and a magnificent tone place the performance by this artist of Beethoven's concerto in C minor upon a high degree of perfection and musical power. She displayed a brilliant technic which overcame the most formidable difficulties with evident ease in the solo pieces: "Auffschwung," by Schumann, the beautiful nocturno by Chopin, and the "Spinning Song" by Wagner-Liszt; the latter she played in a most wonderful way.
15Königsberg.—Miss Brauer opened the concert with Beethoven's exquisite sonata, op. 78. The playing of the young artist was characterized by infinite feeling and extraordinary sympathy, while it also revealed a deep reverence for the Beethoven creation. Her touch is capable of expressing the greatest tenderness as well as the utmost power; her execution and tone, warm clinging and songful, were shown with the best effect in the performance of the brilliant mazurka by Raff and the "Murmelnden Lüftchen" by Jensen. The applause increased so that the artist was induced to repeat the latter one. Her poetic accompaniment to the 'cello solos was a rare treat in itself.
17Miss Emma Howson.
19MISS EMMA HOWSON, one of our metropolitan vocal teachers, has had a varied artistic career, and has associated with many celebrities, and achieved successes both in the musical and dramatic branches of the art, that ought to fit her eminently to teach vocal music and stage deportment. Her portrait adorns our front page, and in an interview she gave the following sketch of her past career:
21My father went from England to Australia when a young man of twenty-three years with his young wife, under the management of Mrs. Clarke, a very good actress and the aunt of Colonel Mapleson, intending only to play his engagement and return to England, but fate ordained otherwise. Becoming famous as a singer and actor, and beloved by all, he determined to make his home in that new and beautiful country. I was one of six children born there, and when quite a child showed promise of a beautiful voice, and was singing in the Catholic Cathedral at the early age of twelve years. I was so small that to be heard I had to stand on a stool, so that my head would be above the railing. The venerable Archbishop Polding asked the officiating priest what little boy that was singing? The priest replied that it was not a boy, but the little daughter of Mr. Frank Howson, the leader of the choir; the bishop answered, "She has the voice of an angel." I loved my singing, and while studying hard sang in public concerts through the Australian colonies with the rest of my family. Our experiences and adventures were varied, and a particularly ludicrous one occurred while playing the "lake scene" from the late Sir Julius Benedict's opera "The Lily of Killarney." We were at the Gold Diggings, as they were called out there, and played in a tent with a stage at the end, the auditorium being nothing but benches fastened on rough supports driven in the earth; therefore the public could not applaud with sticks or feet, but it certainly gave us most hearty applause with hands and voices for our untiring efforts to please. During the performance of "The Lily of Killarney" we were very much disturbed by a noise under the stage, and had to stop in the middle of the scene, to find that a family of pigs had worked their way under the stage. My father informed the audience that there was a rival family of singers underneath, who must be removed before we could proceed with the performance.
23We soon left for San Francisco under an engagement to the veteran manager Tom Maguire, where I sung a round of English operas, and was very successful, the only fault being, as Tom Maguire said, that I was too young. I told him I would get over that some day. After leaving Mr. Maguire's management my father took the Metropolitan Theatre, where I certainly gained the knowledge of acting I otherwise never should have had, for there for nearly three years I played everything—opera, comedy, drama, farce and burlesque—and have always looked back to that three years of hard work as the source of all my successes through life. I, with my family (among them the late John Howson, so well remembered), came East, stopping at all the towns and making money, being particularly successful in Denver and Salt Lake City, where the late Brigham Young made us very welcome, introduced me to members of his family, and suggested my remaining and marrying there. I declined very politely.
25My father died in Omaha. His death broke up our engagements and brought us East sooner than we anticipated. Caroline Richings was then playing at the Grand Opera House, New York, and wanted a young prima donna. I applied and was given the chance to make my début before a New York audience in "Maritana," and, making a success, was engaged by Miss Richings at once to play "Bohemian Girl," "Fra Diavolo" and "Maritana" during the New York engagement. My mother died while I was singing in this engagement. I want to pay a grateful tribute to the memory of James Fiske, who had the Grand Opera House at that time. Mr. Fiske heard of my great sorrow, and knowing we were strangers in a strange land, came and offered to give me and my brothers any assistance in his power; and though I did not need his aid, I have never forgotten his kindness.
27After the engagement in New York I went with Miss Richings through the Southern States, remaining away all the season. On my return to New York I placed myself under Sig. Albites, a very good singing instructor, studied several operas, and was engaged by C. D. Hess as prima donna, to alternate with Rose Hersee and Miss Richings in the leading parts of the répertoire. One of my best successes of the engagement was "Agatha," in the opera, "Der Freischutz," Miss Hersee playing the second part. I returned to New York for the summer vacation, but was immediately engaged by Jarrett & Palmer, the managers of Niblo's Garden, to play "Eily O'Connor" in the drama of the "Colleen Bawn," to give effect to the music. The press and public were kind enough to pronounce my performance of the part a success, both musically and dramatically. The piece, therefore, had a run of four weeks. My next engagement was under Mr. Augustin Daly at the Grand Opera House in the splendid production of "Le Roi Carotte" in the part of "Princess Cunygone." The cast also included Mrs. John Wood, Rose Hersee, John Brougham and other good artists, well remembered in New York. The piece had a long run, which was followed by "Round the Clock." I gave so much satisfaction as to be retained for the last production.
29After the end of the run I accepted an engagement in conjunction with Mrs. Zelda Seguin, Mr. Seguin, Rose Hersee and a very good all round company, for a tour of English opera through the Southern States to New Orleans, and west as far as Chicago. This was a very successful one financially as well as artistically. My next venture in New York was in an engagement with A. M. Palmer, who was then manager of the Union Square Theatre, where I played the "Grand Duchess of Gerolstein," William Crane was the "General Boum," John Howson "Puck." The opera was produced and the orchestra directed by Frank Howson, my brother. While singing this engagement I was also leading soprano of St. Stephen's R. C. Church on Twenty-eighth street, where Dr. McGlynn was the pastor. I sang there three years and became famous through my good and faithful work; I began to feel the need of rest, so made up my mind to go to England, where I met my brother Charles, now with Henry Irving. I then decided to go to Milan, Italy, and with a letter of introduction from Sir Julius Benedict, for whom I sang while in London, placed myself under Lamperti. After two years of study I was engaged by Signor Zimelli, of the Opera House at Malta, and made a successful début in "La Sonnambula." The English governor of the island, Sir Charles Straubenzey, came behind the scenes at the close of the opera to compliment me on my success. During the Malta season I sang "Sonnambula" twenty-eight times, a thing which was considered unprecedented in the annals of the theatre.
31I returned to Milan to continue my studies, but was engaged immediately for Leghorn to sing "Dinorah," which proved another success for me. On my second return to Milan I was engaged to sing in England, Ireland and Scotland in a very fine Italian opera company, all the artists being Italians with the exception of myself and one other member. As to the successes of this tour my press notices are sufficient without comment from me. At the close of this engagement I returned to London to rest, as I had worked very hard. Sir Arthur Sullivan was introduced to me and expressed a desire to hear me sing. He was so pleased as to offer me an engagement to create the part of "Josephine" in the once famous "Pinafore." The music was not all composed at the time, and the aria of the second act was specially written both by Gilbert and Sullivan to give me more scope for both acting and singing. I need not say what a success the opera had. I played the part for a year without rest and found at the end of that time I must take a vacation. While singing "Josephine," however, I was heard by Sims Reeves, the famous English tenor, who liked my voice and method so much as to offer me an engagement to sing the leading soprano rôles with him in old English operas. I accepted the offer and had one of the most delightful tours in my varied experience and the friendship of a delightful family which I still retain.
33After this engagement I returned to America, rested for a year, and was then engaged by Daniel Frohman to appear in "The Mascotte," at the Bijou Theatre on Broadway, under the management of Colonel McCaul. It ran fifteen weeks through the summer. Mr. Haverly then engaged me to sing "Patience" at the Fourteenth Street Theatre; also for a revival of "Mascotte" and a three months' tour. At the end of the engagement I received a telegram from Comly & Barton Opera Company from Boston to sing "Madame Favart," arriving just in time for the performance. I remained with them three weeks, singing in Boston, Baltimore and Brooklyn. My next engagement was at the Boston Museum, to sing "The Grand Duchess" and "Olivette." As you see, I have had great experience in my career, besides being of the third generation of musicians, professors of singing and music in all its branches, and I may add that my grandfather was the teacher of many notable persons, among whom I can name Balfe, the composer of "Bohemian Girl." My aunt was also a well remembered singer in England of the time of Grisi and Mario, the famous dramatic soprano and silver-voiced tenor. My aunt's maiden name was Emma Howson, but she was known later as Madame Albertazzi and as a beautiful woman.
35A Few Excerpts from British Papers, Etc.
37"LE NOZZE DI FIGARO."
39Of Mlle. Howson's "Cherubino," again, no praise could be extravagant. As to the pretty, wilful, lovesick page, melodies fell to her lot the like of which one might fancy sung by real cherubs. The first distinct traces of passion in "Non so piu" were evolved with the most exquisite tenderness. But her "Voi che sapete" was the event of the evening; thrilling with the soft palpitations of "love's young dream," and rendered with an executive power that brought down the house with enthusiasm.—Cork "Daily Herald," March 9, 1876.
41"LA SONNAMBULA."
43For the "Amina," Miss Howson, we have nothing but praise. Her acting was natural and graceful, her singing first rate. Each number was better than the preceding one. For pathos "Ah non credea" left nothing to be desired, while for brilliant and well finished fioriture the final words, "Ah non Giunge," dashed off capitally, formed a sparkling pendant to it.—"Daily Express," Dublin, March 11, 1876.
45"MARTA."
47Miss Emma Howson as "Marta" distinguished herself greatly, singing the music of her part with all the ability that has characterized her vocalism during the present engagement. Besides the success which she achieved in the duet with "Lionel," she sang the chief air of the opera "Qui sola virgin rosa" with great power and brilliancy, and in response to a warm encore sang the air with English words.—"Daily Express," Dublin, March 24, 1876.
49Miss Howson is somewhat new to rôles so tragic as that of "Gilda," but if we mistake not her greatest reputation will be made in such characters. She has evidently been trained in a good school, her singing being marked by sympathetic expression, purity of intonation and correctness of phrasing. The quality of her voice is excellent, and in illustration of its compass we may mention that in the fine duet, "Addio speranza," she finished upon the D flat in alt, a sustained note given with the utmost ease. She was applauded with enthusiasm throughout.—The Leeds "Express."
51MR. SIMS REEVES AT THE TYNE THEATRE.
53The curtain then fell only to rise again in a few moments on a "set" for the tower scene from "Il Trovatore." The duet was most excellently performed, Miss Emma Howson throwing a great deal of force and pathos into her acting as "Leonora," and Mr. Sims Reeves singing the music with all his well-known sweetness and finish of style.
55A LETTER FROM SIGNOR CALSI.
57MOST ESTEEMED MISS HOWSON—Permit me, before leaving the company, to express my satisfaction and admiration of the manner in which you sang "Marguerite de Valois" in "The Huguenots." It is twenty-seven years since I left Italy, and I have had the pleasure of conducting now in Paris, now in two Italian theatres in London, and have never heard an artist give a more faithful and conscientious interpretation, so in accordance with Meyerbeer's intentions. I say this because I had the pleasure of knowing Meyerbeer intimately in Paris. Persevere and continue in your career without imitating the singing of this new so-called school and you may be sure of a brilliant career, which is the desire and prophesy of your most sincere
59G. LI CALSI
61A LETTER FROM SIMS REEVES.
63JUNE 24, 1880.
65MY DEAR MISS HOWSON—How I should have rejoiced if your very kind letter had conveyed the intelligence of your complete recovery of your voice. I have very often thought of you and your charming manners when acting with you. Oh! how cruel is fate sometimes. I had fully made up my mind that I had found my prima donna until I retired from public life, and let me here hope that you still may be able to come to me, or if I should come to your country, what then? We all write in kindest regards to you, most sincerely trusting that your next letter will convey that you are perfectly well again.
67Your sincere friend, SIMS REEVES.
69There are a great many articles published in Italian, Malta and English papers for which we have no space, but which are all highly complimentary to Miss Howson's ability as a prima donna. Her studio is at 9 West Fourteenth street, New York.
71THE NATIONAL CONSERVATORY OF MUSIC OF AMERICA,
72126 and 128 East 17th Street, New York.
73ANTONIN DVORAK, Director.
74ENTRANCE EXAMINATION:
75Supplementary Vocal Examination (including Opera and Oratorio), November 7, from 9 to 12 M., 2 to 5 P. M. and 8 to 10 P. M.
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