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Musical Courier 1894-11-21: Vol 29 Iss 767, 1894
80 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1THE choice of Gounod's "Roméo et Juliette" for the opening opera of the season at the Metropolitan denoted the caution that should, if it does not always, characterize the policy of a wise impresario. The performance of this work, being familiar to all concerned, was not likely to incur the charge of roughness, its principal interpreters, having long since won favor, were in no danger of losing their hold in a single night; furthermore, there is usually a warm welcome in reserve for well liked artists, and the genial influence of a cordial greeting for each individual performer upon the morale of the whole representation is too important a factor to be overlooked in the calculations that habitually precede the initial event of a long series of entertainments. The chief risk incurred in selecting a well-known achievement for production by well-known people lies in the possible change of heart of an audience, that might, under unforeseen conditions, be aroused by novelty in some form or other, but might not, if circumstances were unpropitious, kindle to accustomed sights and sounds.
3As a rule the advantages of such a selection as was determined upon Monday are viewed as outweighing its drawbacks. Sometimes experience shows that it might have been more judicious to have departed from the rule and tried the exception. The performance of "Roméo et Juliette," Monday, notably fine in some respects, good as a whole, and only disappointing as to one character—"Mercutio"—was not viewed with the enthusiasm that its counterpart last winter again and again evoked. The audience filled the Metropolitan to overflowing; the fashionables occupied their boxes; the parquet had its full contingent of interested listeners, but the applause was not as frequent or as persistent as it has often been in the past, and even the greetings to the singers were, by comparison with last November's, halting. Where a state of affairs of this sort prevails, with its immediate reaction upon the stage, it is difficult to decide whether the coldness of an audience affects a representation or vice versa.
5As the performers on Monday were not welcomed with the wonted fervor, it is fair, we should say, to assume that the depressing wave extended from the auditorium to the footlights, rather than in the contrary direction, and careful attention to the performance, which should have aroused the spectators more effectually than it did, strengthens us in this belief. As to the causes of the relative apathy of the listeners, speculation would be superfluous. Our audiences are not exactly fickle, but there is little gradation in their changes of taste as there is twilight in our summer days; and who can say that they may not have wearied of Gounod—overnight? And again society, always languid, came to the Metropolitan still unrested from the fatigues of the Horse Show. The fact remains, regardless of causes, that on Monday the concourse of music lovers—they numbered upward of four thousand—took their pleasure, even as the traditional Englishman, rather sadly.
7Thus much set down by way of preface and record, the more grateful task is left us to refer to the representation itself. Of "Roméo et Juliette" it is needless to say much. Unlike most works it has had more success in London and here during the last few years than ever before. Three reasons for this new birth of Gounod's opera may be suggested: First, the reaction of the average music lover against the severer forms that modern musical art has generally assumed; second, a return to the French text, which adds immeasurably to the loveliness and eloquence of the achievement; and third, M. Jean de Reszke's unique portrayal of "Romeo." The actual conditions at the Metropolitan are propitious to a continuance of the popularity of "Romeo et Juliette;" for Monday M. de Reszke was "Roméo," and the adequate general interpretation of the book and score, the leading singers being all used to French audiences, impressed upon both the full meaning of author and composer. one of two readings
8Thus much set down by way of preface and record, the more grateful task is left us to refer to the representation itself. Of "Roméo et Juliette" it is needless to say much. Unlike most works it has had more success in London and here during the last few years than ever before. Three reasons for this new birth of Gounod's opera may be suggested: First, the reaction of the average music lover against the severer forms that modern musical art has generally assumed; second, a return to the French text, which adds immeasurably to the loveliness and eloquence of the achievement; and third, M. Jean de Reszké's unique portrayal of "Romeo." The actual conditions at the Metropolitan are propitious to a continuance of the popularity of "Romeo et Juliette;" for Monday M. de Reszké was "Roméo," and the adequate general interpretation of the book and score, the leading singers being all used to French audiences, impressed upon both the full meaning of author and composer. one of two readings
10M. de Reszke was in excellent voice; his tones, perhaps, were not quite as vibrant as they sometimes are when warmed up by constant endeavor and sympathetic approval, but they were clear and true. And they were brought forth with all the old-time skill, and sustained at the climaxes of the drama—after the duel scene, for example, and in the chamber scene, before "Romeo's" final parting—with strong effect. But it is mainly in the tenor's phrasing, in his elocution, in the poetic atmosphere with which he surrounds his personations and in the fascination of his presence, that the charm of his delineations dwells. There has been on the stage, since Charles Fechter, no such lover as he, and "Romeo et Juliette," with its suave melodies and honeyed harmonies, unrelieved by one single chord of deep passion, is a long love duet that none but lovers can sing. On Monday M. de Reszke's most admirable work was done in Act II.—the balcony scene. The opening cavatina was a flawless exemplar of song, in which the utmost variety of expression was attained without the slightest impairment of the melodic phrase; and the final measures of the act, after "Juliette" retires, were, if anything, still more beautiful. There was a little less desolation than of old in "Romeo's" outburst after his sentence to exile; the duets, of course, went capitally. one of two readings
11M. de Reszké was in excellent voice; his tones, perhaps, were not quite as vibrant as they sometimes are when warmed up by constant endeavor and sympathetic approval, but they were clear and true. And they were brought forth with all the old-time skill, and sustained at the climaxes of the drama—after the duel scene, for example, and in the chamber scene, before "Romeo's" final parting—with strong effect. But it is mainly in the tenor's phrasing, in his elocution, in the poetic atmosphere with which he surrounds his personations and in the fascination of his presence, that the charm of his delineations dwells. There has been on the stage, since Charles Fechter, no such lover as he, and "Romeo et Juliette," with its suave melodies and honeyed harmonies, unrelieved by one single chord of deep passion, is a long love duet that none but lovers can sing. On Monday M. de Reszké's most admirable work was done in Act II.—the balcony scene. The opening cavatina was a flawless exemplar of song, in which the utmost variety of expression was attained without the slightest impairment of the melodic phrase; and the final measures of the act, after "Juliette" retires, were, if anything, still more beautiful. There was a little less desolation than of old in "Romeo's" outburst after his sentence to exile; the duets, of course, went capitally. one of two readings
13Mme. Melba's "Juliette" disclosed a marked advance on last season's portrayal in respect to the dramatic side of the personage. This nobly endowed songstress's triumphs were achieved last year by pure vocalism; it appears likely this winter that the characters she is to assume will be more convincing than the nightingale's song, unaided, can make them. Mme. Melba's early scenes with M. de Reszke, Monday, were altogether different from the conventional attitudinizing of the past, the dainty madrigal especially furnishing to the tenor a responsive partner; in the duets also it was seen that the soprano's powers as an actress are largely increased. In respect to voice and style Mme. Melba's "Juliette" was impeccable. Trashy as it is, the waltz is the one ad captandum number of the score, and the facile fluency and absolute precision with which the Australian prima donna sang it compelled an encore. In the duets Mme. Melba's voice blended exquisitely with the tenor's; nothing more seductive could have been wished for. one of two readings
14Mme. Melba's "Juliette" disclosed a marked advance on last season's portrayal in respect to the dramatic side of the personage. This nobly endowed songstress's triumphs were achieved last year by pure vocalism; it appears likely this winter that the characters she is to assume will be more convincing than the nightingale's song, unaided, can make them. Mme. Melba's early scenes with M. de Reszké, Monday, were altogether different from the conventional attitudinizing of the past, the dainty madrigal especially furnishing to the tenor a responsive partner; in the duets also it was seen that the soprano's powers as an actress are largely increased. In respect to voice and style Mme. Melba's "Juliette" was impeccable. Trashy as it is, the waltz is the one ad captandum number of the score, and the facile fluency and absolute precision with which the Australian prima donna sang it compelled an encore. In the duets Mme. Melba's voice blended exquisitely with the tenor's; nothing more seductive could have been wished for. one of two readings
16As last year, M. Edouard de Reszke personated "Frère Laurent;" M. Plançon, "Capulet;" Mlle. Bauermeister, "Gertrude;" and M. Mauguire, "Tybalt;" Mlle. Jane de Vigne was "Stephano" and M. Gromzeski, "Mercutio." The Polish basso's tremendous voice never fails of its impressiveness in the chapel scene, and lent due solemnity to the measures—with the absurdly trivial final measures—in which the friar describes the workings of the sleeping draught to "Juliette." M. Plançon was dignified and mellifluous. Mlle. de Vigne sang the page's song in Act III. exceedingly well. As for M. Gromzeski, his performance was the single blemish on the proceedings of the night. This young person has a very light voice; he is a monotonous singer, and an actor devoid of anything akin to authority. There is nothing very much to "Mercutio," although the "Queen Mab" ballad is not ineffective in competent hands. In Act I., however, this personage's music should offset effectively the tenor's measures. Monday M. Gromzeski impressed one as a bad second baritone—in a tutti. The chorus and band in "Rome et Juliette" were in fair form, and will naturally improve as the season advances. Signor Mancinelli conducted. one of two readings
17As last year, M. Edouard de Reszké personated "Frère Laurent;" M. Plançon, "Capulet;" Mlle. Bauermeister, "Gertrude;" and M. Mauguire, "Tybalt;" Mlle. Jane de Vigne was "Stephano" and M. Gromzeski, "Mercutio." The Polish basso's tremendous voice never fails of its impressiveness in the chapel scene, and lent due solemnity to the measures—with the absurdly trivial final measures—in which the friar describes the workings of the sleeping draught to "Juliette." M. Plançon was dignified and mellifluous. Mlle. de Vigne sang the page's song in Act III. exceedingly well. As for M. Gromzeski, his performance was the single blemish on the proceedings of the night. This young person has a very light voice; he is a monotonous singer, and an actor devoid of anything akin to authority. There is nothing very much to "Mercutio," although the "Queen Mab" ballad is not ineffective in competent hands. In Act I., however, this personage's music should offset effectively the tenor's measures. Monday M. Gromzeski impressed one as a bad second baritone—in a tutti. The chorus and band in "Rome et Juliette" were in fair form, and will naturally improve as the season advances. Signor Mancinelli conducted. one of two readings
19The arrangements for the remainder of the week and for next Monday are as follows: To-night, "Guglielmo Tell," with Signors Tamagno, Ancona, Abramoff, Edouard de Reszke and Mme. Libia Drog, who will take Miss Lucille Hill's place, Miss Hill being indisposed. Friday, "Aida," with Signors Tamagno, Bensaudé, Mariani, E. de Reszke and Mmes. Drog and Mantelli. Saturday afternoon, "Romeo et Juliette," with the same cast as on Monday. Monday, "Carmen," with MM. J. and E. de Reszke, Mme. Melba and Mlle. Zelie de Lussan. one of two readings
20The arrangements for the remainder of the week and for next Monday are as follows: To-night, "Guglielmo Tell," with Signors Tamagno, Ancona, Abramoff, Edouard de Reszké and Mme. Libia Drog, who will take Miss Lucille Hill's place, Miss Hill being indisposed. Friday, "Aida," with Signors Tamagno, Bensaudé, Mariani, E. de Reszké and Mmes. Drog and Mantelli. Saturday afternoon, "Romeo et Juliette," with the same cast as on Monday. Monday, "Carmen," with MM. J. and E. de Reszké, Mme. Melba and Mlle. Zelie de Lussan. one of two readings
22Conrad Behrens' Concert.
24THE following program was given at Chamber Music Hall last Wednesday evening before a large and fashionable audience by Conrad Behrens, the popular basso, and his associates:
26Rhapsodie No. 6, piano………………………………………Liszt
27"Patria," aria (especially composed for Conrad Behrens)…..Mattei
28"Linéan," quartet…………………………………………..Wiberg
29The Swedish Ladies' Quartet.
30Kondo Capriccio, violin…………………………………….Saint-Saëns
31Miss Dora V. Becker.
32"Die Verfallene Mühle," ballad…………………………….Loewe
33Mr. Conrad Behrens.
34Grand fantasia, "Martha," harp……………………………Cheshire
35Mr. John Cheshire.
36"Remembrance" (new)………………………………………Luckstone
37Madame Rosa Linde.
38"Bröllopsmarsch," quartet…………………………………Söderman one of two readings
39"Bröllopsmarsch," quartet…………………………………Soderman one of two readings
40The Swedish Ladies' Quartet.
41Two Norwegian Dances, violin…………………………….Grieg
42Miss Dora V. Becker.
43"Leporellos" air from "Don Juan"………………………….Mozart
44Mr. Conrad Behrens.
46Mr. Luckstone was the musical director, and in addition to a satisfactory reading of his solo number, gave the accompaniments in a most excellent manner.
48Mr. Behrens was in good voice, and sang with much taste the three solos assigned him; but Mr. Behrens' powerful organ is heard to greater advantage in a larger hall, though he had it under control. Mme. Linde was accorded an excellent reception, and her performance of Mr. Luckstone's charming song brought her an encore. Miss Becker, as always, displayed sound technic as well as much musical feeling; her playing of the Saint-Saëns number was one of the successes of the evening. The Swedish Quartet charmed the eye as well as the ear; their voices blend admirably. Mr. Cheshire also added to the enjoyment of the evening by two harp solos.
50George W. Vanderbilt's Musicale.
52THE musicale given by George W. Vanderbilt at his home, No. 640 Fifth avenue, on the evening of November 15, has occasioned much comment, as it is believed by many to portend Mr. Vanderbilt's entrance into active social life, which heretofore he has seemed to avoid. The supposition appears to have a foundation, as Mr. Vanderbilt proposes giving a second musicale December 11.
54At the musicale last week Anton Seidl's orchestra played an elaborate program, and Mr. Cortlandt Palmer, an intimate friend of the host, played two concertos. The orchestra was stationed in the picture gallery.
56The guests were seated in the gallery, in the conservatory at the west, in the large square hall and in the room to the north. The small balconies opening from the second floor over the doors on the north, east and west sides were also occupied. The orchestra was conducted by Mr. Seidl through the following program:
58Overture, "Midsummer Night's Dream"…………………….Mendelssohn
59Concerto No. 4, in G major……………………………….Beethoven
60Entr'acte, gavot…………………………………………….Cortlandt Palmer.
61Traumerei…………………………………………………….Schumann
62Serenade…………………………………………………….Moszkowski
63Prize song, from "Meistersinger"………………………………….
64Violin solo by Henry Schmidt.
65"Marionette March"………………………………………….Gounod
66Concerto No. 1, in E flat major……………………………….Liszt
67Ballet suite, "Coppelia"………………………………………Delibes
69Among those present were Cornelius Vanderbilt, Dr. and Mrs. W. Seward Webb, Mr. and Mrs. William D. Sloane, the Misses Sloane, Mrs. Elliott F. Shepard, the Misses Shepard, Mr. and Mrs. H. McK. Twombly, Dr. and Mrs. Robert Abbé, Mr. F. H. Baldwin, Mrs. Frederick Rhinelander Jones, Miss Beatrix Jones, Mr. R. M. Hunt, Mr. and Mrs. Brayton Ives, Miss Ives, the Misses Minton, Col. and Mrs. S. V. R. Cruger, Mrs. Jas. P. Kernochan, and Mr. and Mrs. Robbins.
71The Liederkranz Concert.
73THE Liederkranz Society gave on Sunday night last its first concert this season at its handsome club house, making it the occasion of a tribute to Carl Maria von Weber's memory. The opening number was the overture from "Freischütz," after which the musical director, Heinrich Zoellner, gave a brief history of the composition which was to follow. This was entitled "At Weber's Grave," by Richard Wagner. He said in substance that it is now the fortieth anniversary since Weber's mortal remains had been transferred from London, where he had died in June, 1826, to Dresden. Richard Wagner, who was at that time Saxon Court Capellmeister, composed the music and words for the funeral ceremonies. The composition is one of the master's early efforts and in no wise foreshadows the latent abilities which he demonstrated in later years. The stirring and patriotic "Sword Song," by Weber, was the next number, which was sung admirably by the male portion of the society. In the "Wallfahrt nach Kevlaar" by Humperdinck, Mrs. Carl Alves, Mr. Carl Naeser, the male and female chorus and the orchestra took part.
75Rose and Ottilie Sutro played Max Bruch's "Fantasie," op. 11, and "Impromptu," by Carl Reinecke. The two pianos sounded as one. The praise these two artists received for their excellent ensemble playing on the occasion of several recent appearances was well merited. With unerring precision and complete unity of conception they played the two numbers to the delight and the applause of the critical audience. Emperor William's "Song to Aegir" received an excellent interpretation, and the dramatic symphony, "Romeo and Juliette," by Hector Berlioz, closed the concert.
77Strauss' "Jabuka."—Concerning Strauss' new operetta, "Jabuka," which was produced during the jubilee, the general opinion is that it is the best thing he has written in many years, combining in its best numbers "the freshness of youth with the subtle refinement of age." A quartet in the last act is said to be of such entrancing beauty that it would alone insure the success of the new operetta. Servian local color is freely used in the music, while the Vienna waltz is kept in the background.
79Strauss has, as one critic says, "thrown overboard worn out formulae, and raised the operetta, the stepchild of the grand opera, to a level where it cannot be distinguished from genuine comic opera." Of the orchestration Hanslick says that "it is so beautiful that one cannot become satiated. What wondrous accords of harps, pizzicato violins, flutes and soft violin passages like silver threads woven through the score!"—Evening Post."
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