Scan 28
Musical Courier 1894-12-12: Vol 29 Iss 770, 1894
69 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1passioned picture of "José" as before; M. Edouard de Reszké was again, as "Escamillo," more nimble of voice and foot than one would suspect he could be. Mlle. de Lussan was the "Carmen" made familiar of late—lively and intelligent, denoting cleverness as a songstress, and, unfortunately, failing at every point to carry a conviction of her sincerity into the souls of the spectators.
3One cannot truthfully say that Mlle. de Lussan mars the ensemble of "Carmen," but she is certainly incapable of lifting the heroine of Mérimée's story and Bizet's score into the prominence that she occupies in both—a prominence made particularly striking last winter by Mme. Calvé's remarkable and much acclaimed portrayal of the personage. Mme. Eames sang the pretty music assigned to "Micaëla" with feeling and good taste, and imparted to her work the invaluable influence of a charming presence. The air in Act III. was encored, this tribute of admiration being the heartiest called forth by the performance, which as a whole was not very inspiriting.
5There was far more enthusiasm Saturday evening, when "Aida" was given, with the reduced tariff of admission and seats in force for the first time. The Metropolitan was filled to overflowing, and Signor Tamagno's "ad captandum" singing and superb voice, as also the admirable tones and artistic and dramatic delivery of Signora Mantilla—the "Amneris," as week before last—elicited enthusiastic applause. Mme. Drog was "Aida" and contributed the same conventional but not ineffective personation already commented upon in this place. The remainder of the cast, if not the same in respect to the interpreters of "Amonasro" and "Ramfis," was quite as strong as week before last, for Signor Ancona did as well as Signor Ben-saude, and M. Plançon was an adequate substitute for M. Edouard de Reszké.
7The immense audience was wholly different in quality—to use a somewhat snobbish term, but one that is too accurate to be set aside where precision of statement is desired—from that in attendance on the regular nights, and it was most attentive and demonstrative. It is to be hoped that its character and proportions may remain unchanged in the future, for the success of these popular representations, aiming to make known the best artists at prices within the reach of people of moderate means, is conditioned upon their encouragement by music lovers of this class, to the exclusion, practically, of the fashionables.
9One cannot always, in the parlance of the stage, strike twelve, and in respect of the performance of "Mignon" Monday, the hour and minute hands were as remote from the apex of the dial as they well could be. Everything went wrong on that ill-starred evening. The new tenor began his task unsatisfactorily, and wound up the proceedings in a condition of hoarseness that menaced to bring the opera to a conclusion with the climax of the third act. The new soprano made an uncertain impression at best, her occasional flashes of brilliancy being too infrequent to dispel the murky cloud that overhung the representation. The "coloratur" did not prove to be a "coloratur" at all, and was, moreover, somewhat unfamiliar with her music. And of course the stage manager helped to unsettle matters, and turned the fire scene into a ridiculous exhibition, that brought down the curtain to an accompaniment of unrestrained hilarity. It was an off night, clearly—the first beheld since the season was entered upon, upward of three weeks ago.
11It was doubly unfortunate that "Mignon" should have come up for performance under such cheerless circumstances. The opera by which M. Ambroise Thomas is most widely known is so palpably artificial, so aggressively meretricious, that nothing but a spirited and brilliant rendering can save it from contempt. "Non conosci quel suol" has been done to death, but a lovely voice and an expressive delivery are still potent to make it endurable. The "Styrienne" is only effective through the songstress' by-play, but a clever actress and vocalist can win applause through its measures. The polonaise is literally threadbare; virtuosity, however, can endow it with a sparkle that still dazzles the eye. In none of these numbers, withal, nor in the pretty concerted bits in Act I., nor in the florid measures of Act II., nor in the tuneful romance for tenor in Act IV. is there beauty or strength in sufficient proportions to reveal themselves through the medium of an ordinary exposition.
13Then, too, one cannot help recalling the early performances of "Mignon," that conjured up its possibilities with a vividness we are not likely to again behold. Mme. Christine Nilsson was "Mignon," Miss Cary "Federico," M. Capoul "Guglielmo," and Miss Kellogg "Filina." The first interpreters of a work may be forgotten, however capable, if the substance of the work is of such worth as to be distinct from the effects of the performers. Where everything depends upon the interpreters, an inadequate rendering, showing the achievement in all its nakedness, constrains one to recall, with a sigh of regret, the glories of the past.
15The artists engaged in Monday's exposition of "Mignon" were Mlle. Mira Heller, Mmes. Scalchi and Nordica, Signor Nouvelli, M. Plançon and Signor Carbone, De Vaschetti and Viviani. We deem it advisable to suspend judgment upon Mlle. Heller, who was an intelligent and at times a rather dramatic "Mignon," but whose illuminative powers as a vocalist were more fitful than steady. In person, Mlle. Heller is prepossessing, though her plumpness of form accords ill with a young and comely face. Her voice is a mezza soprano, even and of pleasant quality; in this artist's impassioned singing it was broad and vibrant in "mezzo voce" passages, and indeed, when no effort was made to send forth a full volume, it had little or no resonance.
17With due allowance for the nervousness incidental to a début, bearing in mind the fact that Mlle. Heller was schooled by Mme. Pauline Lucca, once a prima donna of marvelous vocal gifts and temperament, but the very opposite of what a singing teacher should be, we incline to the belief that Mlle. Heller has not acquired the complete use of the organ that nature has endowed her with. Her work grew more authoritative as the evening progressed, and she was best, both as songstress and actress, in Act IV. We should not be surprised if Mlle. Heller proved a useful accession to the company; she will certainly not take the place of either Mme. Melba or Mme. Eames.
19Signor Nouvelli—"Guglielmo"—was a painful disappointment. He disclosed from the first a dull tenor voice and a ligneous personality, and when Act IV. was reached hoarseness had fastened upon him to the extent of making his final utterances almost inaudible. To offset this distressing feature of the evening the audience had to look to M. Plançon, whose "Lotario" was really the only performance that, with Mme. Scalchi's, was up to the standard of the opera house. Mme. Scalchi sang the gavot in Act III. with her usual daintiness, and the number was encored.
21As for Nordica, she was not at her ease as "Filina." It was somewhat of a surprise that she should have accepted the rôle, which is quite unsuited to a "prima donna drammatica;" but Mme. Nordica is an ambitious woman and the music was not absolutely unfamiliar to her either, so that she determined to take the plunge. It was not productive of tonic results, for Mme. Nordica was uncertain in the concerted music in Act I., particularly uncomfortable in the toilet scene of Act II., and only passable in the polonaise, part of which she had to repeat. As Mme. Nordica has of late devoted herself so successfully to dramatic singing, she cannot be expected to alternate the breadth of style and intensity of feeling of a "prima donna drammatica" with the range of tone, the flexibility and the glitter of a "coloratur."
23Whether she has done wisely to set aside the less trying ornate measures to which she inclined in the past, and equip herself for the tasks of a Sucher and a Materna, the near future will show. In the two representations in which she has lately been concerned there were indications that her voice has suffered from forcing. Bayreuth may be the source whence flows the pure stream of dramatic tradition as to the Wagner répertoire, but the evidence of its influence for good upon the art of song is still awaited.
25In "Mignon," Monday, Signor Carbone was an excellent "Laerte." Signor Bevignani conducted, and not always considerately. The arrangements for the immediate future are: To-night, "Faust;" Friday, "Lohengrin;" Saturday matinée, "Otello;" Saturday evening, "Lucia;" Monday, December 17, "Elaine," and the week following, "Falstaff."
27Brahms' Folk Songs.—A friend of Brahms corrects the impression that the composer claims any originality for his new German folk songs. He simply selected the melodies and provided them with accompaniments.
29Saint-Saëns.—M. Saint-Saëns, before embarking for Egypt, where he intends to pass the winter and complete his "Brunnhilde," stayed a few days at Toulouse to superintend the rehearsals of his opera, "Proserpine."
31In Memoriam.—In memory of Peter Tschaikowski, who died about a year ago, the musical societies of St. Petersburg, Moscow, Kiev and Odessa have planned a series of symphonic concerts, the programs of which are to be made up entirely of this composer's works. In consequence of the national mourning in Russia, the concerts had to be postponed.
33Nordica Goes to New Haven.—Mme. Nordica has decided to keep her engagement with the New Haven Gounod Society for December 18. When she agreed to the date she was in Europe, where it was impossible to confer with her operatic managers. She knew it was not customary to have grand opera in New York Tuesday nights. She supposed, therefore, that there would be no doubt that her Tuesday nights would be open.
35The London Orchestra.—The scheme for a permanent London orchestra has proved a popular success. The prospectus appeared this week, "The London Symphony Orchestra Company, limited, capital £25,000, in 5,000 shares of £5 each." Daniel Mayer is the managing director, and he is reinforced by Carl Meyer, Victor Rubens and Alexander Siemens. Mr. Henschel will be the general conductor and the band is to number eighty members, and will be formed of resident players, principally from the present London Symphony Orchestra.
37Boston Musical Notes.
39MISS HELEN HOOD has just completed a trio for violin, violoncello and piano, which is the first one composed by an American woman. This trio was given a hearing last week in Miss Lillian Shattuck's studio, Pierce Building, Copley square, Miss Shattuck playing the violin, Miss Laura Webster the violoncello and Miss Hood the piano. Those who heard it speak in praise of the work Miss Hood has accomplished. The music will soon be published.
41The O. Ditson Company will publish early in January "The Prodigal Son," an oratorio by Benjamin C. Blodgett, professor of music at Smith College, Northampton, Mass. The oratorio will be given by the Worcester County Association, or the Springfield Association, possibly by both societies.
43Arthur P. Schmidt has just published "The Life of Man," oratorio for solo voices, chorus and orchestra, by J. C. D. Parker, which was written for the Händel and Haydn Society, and announced to be performed by them next Easter Sunday, April 14. This is the third important choral work written by Mr. Parker for this society. Mr. Schmidt is also the publisher of Margaret Ruthven Lang's "Five Norman Songs."
45The B. F. Wood Music Company has the American rights for Stavenhagen's music, they being the agents of Ries & Erler, of Berlin, who publish all of Stavenhagen's compositions. They are also agents in this country of M. Krämer, of Vienna. Mr. Krämer in sending the manuscript of Czibulka's last composition, said in a letter dated November 1, "An Dich! Poor Czibulka died four days ago (October 27). He himself gave me the manuscript two days before his death (by apoplecty) with the words, 'There, I give you the best I ever have written since my "Stephanie Gavotte."'"
47Mr. Emil Tiferro at a recent concert sang selections from Schubert, Schumann, Hollaender and Rubinstein. He is a comparatively new comer in Boston, but a tenor is always warmly welcomed.
49Mr. Eliot Hubbard, tenor, studied with Sbriglia, and is often heard in concerts. He recently sang at a musical given at a private residence, one of his songs being "La Vie," by E. Nevin, a song of which Mr. Hubbard speaks in terms of the highest praise.
51The Mendelssohn Quartet has just been reorganized with the following vocalists: Madame Marie Foster and S. Elizabeth Austin, sopranos; Anna C. Burt and Edith Mae Ladd, altos.
53Forty thousand copies of "Tabasco March," by G. W. Chadwick, have been sold.
55The fourth of Miss Orvis' concerts for young people was given at Chickering Hall this afternoon.
57Announcements of the Händel and Haydn Society for its eighth season are: December 23 and December 25, "The Messiah;" February 3, "Israel in Egypt;" April 12, Good Friday, "Bach's Passion Music;" April 14, Easter, "The Life of Man;" Easter oratorio, composed by Mr. J. C. D. Parker for the society. The list of solo singers as far as made up is as follows: "The Messiah," December 23—Mrs. Elene Eaton, Miss Mary Louise Clary, Charles A. Knorr, Watkin Mills. "The Messiah," December 25—Mrs. Kileski Bradbury, Mrs. Ada May Benzing, Frederick A. Mandeville, Watkin Mills. "Israel in Egypt," February 3—Myron W. Whitney, Myron W. Whitney, Jr. "Saint Matthew Passion," April 12—Mrs. Jennie Patrick-Walker, Miss Marguerite Hall, William H. Rieger, Carl E. Dufft, Ericsson F. Bushnell. "The Life of Man," April 14—Miss Elizabeth Hamlin, Ben Davies.
59Miss Ellen D. Barret, who for several years had charge of the vocal department of the Carlyle Petersilea Academy of Music, died suddenly last Tuesday.
61Miss Etta Parker, contralto, will give a concert at Chickering Hall Monday afternoon, and will sing three songs of her own composition—Browning's "Pippa's Song," Emily Dickinson's "Have You a Brook in Your Little Heart?" and "The Song My Paddle Sings."
63Cincinnati Concerts.—Mr. Frank Nicholson will be tendered a benefit concert Thursday evening at Knabe Hall Cincinnati. The participants will be: Miss Amanda Schrover Mr. H. C. Lerch, Miss Flora McIvor, Miss Josie Edna Murreau, Miss Anna Wright, T. Willard Birmingham, Mr. John Renkle, Miss Agnes Morrill, Miss R. Rhode, Mr. Alex. Huston, Masters Sultzner and Franck. one of two readings
64Cincinnati Concerts.—Mr. Frank Nicholson will be tendered a benefit concert Thursday evening at Knabe Hall Cincinnati. The participants will be: Miss Amanda Schrover Mr. H. C. Lerch, Miss Flora McIvor, Miss Josie Edna Murreau, Miss Anna Wright, T. Willard Birmingham, Mr. John Renkle, Miss Agnes Morrill, Miss R. Rhode, Mr. Alex. Huston, Masters Sultzler and Franck. one of two readings
66Edgar M. Cawley.—Mr. Edgar M. Cawley, who will go abroad to complete his musical education, and who has been a pupil of Mr. Frederic Shailer Evans, at the Cincinnati Conservatory of Music, recently had a benefit concert given him at Knabe Hall. He was assisted by Mr. G. Morgan Stricklett, tenor.
68CONCERT PLANIST—Superior solo singer, teacher of ten years' experience in prominent schools, desires to hear of good opening for now or next fall. Gentleman of culture; conversant with the English, French and German languages; thirty-two years of age; Protestant; highest references and testimonials. Address G. H. W., P. O. Box 639, New York City. Customary commission offered for information of vacancy resulting in engagement.
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