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Musical Courier 1895-02-27: Vol 30 Iss 781, 1895
88 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
1AMERICAN MUSICIANS IN PARIS.
3YOU have read in THE MUSICAL COURIER of the novel success of Mme. Kinen and her sister, Miss Lydia Eustis, daughters of Mr. and Mrs. Allain Eustis, brother of our Ambassador to France.
5These American singers have the distinction of being the first society ladies ever invited to sing in the Société des Concerts of the Conservatoire, the most severe and exclusive art ark in the world. The distinction is of more value in that the work done was of the most classic order, a mass of J. S. Bach. Mme. Kinen sang all the exacting solos of the mass; the duos were taken by her sister and a French singer. The manner in which they achieved their unique task is the surprise of all.
7It is very interesting to hear them talk of the peculiarities of the old master's writing as applied to modern study.
9"Everything about it is difficult," says Miss Lydia, "everything! and not only difficult but newly difficult. The intonation is difficult and strange, the intervals are strange and peculiar, the rhythm is all new, the style wholly different from any other music. The phrases are interminable and there are no clues; the other part seems to be created expressly to throw you out. It's like singing geometry with everything pulling the other way. You must sing by the mind. Depend on the ear once and you are gone.
11"Then one must have immense breath resource, and there must be no evidence of it. There are no effects of voice. It is all dependent on 'style.' One must give up voice and personality wholly. Indeed, the entire nature seems changed, somehow, in singing it; it is all grand and noble and self-effacing. No one could jump into Bach singing from secular composition. It is a question of mind and spirit preparation as well as of voice." The manner of this preparation must be of value to all serious students.
13In that aristocratic Concert Society of Paris spoken of was the wife of a distinguished doctor, Mme. Trélat, whose teacher was a pupil of Rossini. On account of her own rare method of singing and other valuable qualities she was induced upon the death of her husband to become the professor of a select circle of amateurs, which desired training for society musical work only, a preparation wholly distinct from that for public performance.
15In this unique circle music is made the objective point, to which the singers yield only their gifts as service. No solos are sung. The study is made wholly of duos, trios, quartets and choruses from the highest class of composition. No effort is made for personal effect. Once in three weeks the class is directed by Widor, who brings the work up to concert pitch, and the fourth week is a matinée, which is one of the recherché musical events of Paris.
17The individual preparation for this sort of work consists of a study of the theory of music in song, in which one whole year is given to the method Crescentini—a collection of morsels representing all the types of musical style. In this time no single song is sung, the idea being to learn how to study songs and how to sing them, after which all that is necessary is the application of that knowledge to the song required. Diction and vocalizing are, of course, united with this work.
19On coming to Paris, some twelve years, ago Mrs. Eustis, who was herself an excellent soprano singer, realizing the advantages of this system, placed her oldest daughter with Mme. Trélat, and later her younger sister. The first three months were spent in learning to breathe. The work was supplemented by solfège and harmony with a Conservatoire professor; for without this spelling and grammar of composition, so neglected in American musical education, no singer in Paris is considered a worthy interpreter.
21In point, of fact then, so complete was the preparation that the actual study of the Bach mass cost but three weeks of time, with the result above indicated.
23There were three orchestra rehearsals with the perfect Conservatoire orchestra under M. Paul Taffanel. The Benedictus of the tenor Warmbrodt was a superb execution. The sonority of the Conservatoire Salle de Concert is perfection. It cannot be duplicated. Efforts have been made with the most accurate measurements to no avail. One can almost hear the singers think on the stage and the faintest breath is audible. This is one reason why, although the salle is anything but commodious, the state dare not tear it down or make alterations or additions of any kind.
25Mme. Kinen is married to a Russian. When she came to Paris, as Miss Eustis, Gounod was one of the first to be attracted by her flutelike voice, and loved to have her sing for him. Another great favorite of the dead master who is in this same musical circle is Mme. de Guerne, who makes a specialty of his songs and has a high soprano voice. There is also Mme. Landesque, one of the most brilliant members; and two sisters, Mlles. Molinos-Mens, one of whom is a superior pianist pupil of de Beriot and Widor.
27IN OPERA.
29Miss Suzanne Adams, who has made so signal a success as opera débutante in Paris, replacing Miss Sibyl Sander- son, is direct from Boston.
31Her aunt, Miss Higgins, who is a pupil of Garcia, is as well known in Boston as the Common, having taught music there for the past thirty years. A sister of Miss Adams, one of two married since the latter has been in Paris studying, has taken charge of her aunt's class while that lady is filling the agreeable task of chaperone to the young singer in the French capital.
33The new Juliette has been in Paris about six years. She is a pupil of Bouhy in voice, and ascribes to him her success. When that teacher was engaged in the Thurber Conservatory, New York, she sang for him there, and he advised her coming to Paris, not knowing that he should so soon return himself. She took lessons from him here four times a week, note by note, for two years and a half, first to equalize the register and then for répertoire.
35Impatient to push matters, American like, she took a few months' lessons at the Marchesi school, but, repentant, returned to her first teacher, with whom she has remained to this day, as she rehearses her parts with him every week.
37Meantime she has had a horde of supplemental teachers, as American students are obliged to have, in French conversation, diction, gesture, as coaches, accompanists, &c. All have been of the very best quality. In fact, no expense has been spared, and possibly, what with travel and doctors restoring health broken under too much work in too little time, teachers, living and all, a snug little fortune has been spent on her preparation. With all of that, without a certain something she could not have accomplished what she did, for Paris is lined with voices that have had fortunes spent upon them who could not be heard by an opera director and would not be engaged if they were.
39You would not find this something in looking at her. She is no more big nor striking-looking than your sweet little Alice Breen, who used to sing in the Brick Church. She is a nice, all-right, pretty, engaging American girl, slender and straight, with small hands and feet, a mass of beautiful black hair, fine dark eyes, white teeth, nice little nose and changeful expression. Her voice is fine and refined, not large and not dramatic, but flexible as a lark's course. It has not a homely spot in it and it is true as the spring in a first-class watch. It seems impossible for her to sing out of tune. Neither she nor anyone else expects it. She was not a particle afraid the first night. She hoped she would be in good voice; that was all she knew what she could do otherwise. But she has got a "dash of the craythur" in her! That's what does it. You catch it in her good aunt's accent, in the little bit of a round turn to her own inflections, in the rougery and pathos that nest together in her dark eyes, in the small waist and full bust, and in the easy step that belongs to the Connaught girl, her bonnie arms akimbo and the balanced pail on her head.
41You do not see where she gets her force till you see her handwriting. There's passion and will and warmth in it, like Augusta Holmés. She has got a temperament that Boston never gave her—the darlin', God bless 'er!
43If you please, she has got a contract with the Opéra for three years! She enters, too, as a regular pensionnaire, with all the privileges of Opéra education, just as though she had been a first prize Conservatoire pupil, and on having her voice tried the directors accorded her a privilege never before given to any débutante, of orchestra accompaniment. M. Gaillard, one of the directors, at once took hold of her studies for Romeo and Juliette. M. Koenig, a chef de chant of the Opéra (spoken of before in these columns as organist of one of the American churches here), gave her coach lessons as applied directly to the Paris Opera House business, and so she was prepared.
45Her aplomb and unconcern for self were the features wondered at by the critics. She is spoken of as a débutante who grows bodily at every representation. She was born with a natural trill. Her voice was nearly ruined once by being made to sing five times in succession the high D passage in Lakmé to show off her voice. She says that French diction is good for the voice in that it brings the delivery to the lips and teeth. The Opéra rehearsals take place three times a week—Mondays, Wednesdays and Fridays—and last about two hours.
47They are very careful about her voice in rehearsal, never asking her to sing out. Both she and her aunt are enthusiastic in regard to the exquisite manners of the entire company, not only to them but to each other. The gentle courtesy of the salon is never forgotten under any circumstances, and the machinists are careful and gentle as the musicians. "No life could be more free from so-called staginess," says Miss Higgins. "Even the ballet girls are ladylike."
49This quite agrees with a similar statement made in THE MUSICAL COURIER in regard to the Opéra Comique by another American, Mr. Rown, in speaking of the début of Mme. Frances-Saville in Paul and Virginia. It also wholly coincides with my own experience of thirteen months in the city. If any one wants to find rudeness, Paris is not the place to come to. There is not any. I never imagined such a silk-velvet-trimmed place possible in the world.
51IN PARLOR.
53Mr. G. Waring Stebbins, the Brooklyn organist and teacher studying here with Guilmand, has installed his mother and her aunt in his own charming abiding place, No. 45 Rue de Clichy, popularly known to the Franco-American world as Madame Glatz's. A few doors from the Guilmand studio, it is a point in one of the Opéra quarter rays, and while in the midst of everything is as quiet and retired as a suburb.
55Madame Glatz is a flower-like woman, a Parisian who radiates comfort, kindliness, luxury and good taste about her, and whose home has been the headquarters of American families and students for years. She has besides a strong musical taste, and the musicale has always been an established feature of her salons. This week the reception was a little more extended in honor of the interesting arrivals, and this program, arranged by Mr. Stebbins, was of exceptional interest:
57Prelude and fugue in E flat, for two pianos…………………B. Hynes
58Mlle. Mery and M. Stebbins.
59Sonata, for violin and piano, No. 1………………………..Beethoven
60Mlle. Mery and M. Paul Lemaitre.
61Song, Thy Presence………………………………………G. Waring Stebbins
62Sung by the author
63Meditation de Thais………………………………………Massenet
64All' Ungarese……………………………………………..Goens
65M. Paul Lemaitre.
66Impersonations…………………………………………..M. Lactance Brodeur.
67Berceuse de Jocelyn………………………………………Godard
68Mazurka…………………………………………………….Zarzycki
69Three little songs—
70Serenade…………………………………………………Neidlinger
71A Leaf…………………………………………………….M. Stebbins
72Robin……………………………………………………..M. Stebbins. one of two readings
73Robin…………………………………………………….M. Stebbins. one of two readings
75After the concert a charming supper was served, followed by a dance. Among those present were Mrs. Stebbins, whom every one insisted was the sister, not the mother, of the organist, and Mrs. Waring, her aunt, who was called his aunt. These two ladies have been doing Europe, if you please, together for several months, and have come to Paris from Italy to stay till April, when all return to America together. They look as if they had just come in from a walk in a garden, both of them.
77Mrs. General Wallen and her daughter Lydia are from New York. Miss Wallen has been in London studying with Garcia and has been here, since April, with Mme. Viardot. Surely she is being well taught. She could not be in better hands. She is very young, a pretty, plump, engaging girl. Her voice has been greatly admired. Her brother, Mr. Wallen, a young business man of New York, is touchingly interested in his sister's success. THE MUSICAL COURIER sends him hope and cheer. He need have no worry, and we shall let him know of her from time to time. Mrs. Wallen is one of those American women who cannot be happy unless every one about her is the same.
79Mr. George Borough-Torrey is a painter from New York who is here to perfect himself in his art. With him is an extremely pretty wife and Miss Grace E. Torrey, a cousin, and pupil of Mme. de la Grange. Mr. Anderson, president of the American Society of Artists here; Mr. De Witt Parshall, of Lyon, New York; Mr. Pennington, of Oberlin, organist; Mr. and Mrs. W. W. Bailey and son, who are here preparing for Harvard; Mrs. J. T. Jones and daughter, of Buffalo (Miss Jones is studying violin); Mr. and Mrs. C. G. Sower, of Philadelphia; Mr. S. T. Williams, of Washington, former ambassador to Brazil; Mr. Heinl and family, Mr. Lawrence, and Miss L. Smith, with Mrs. Stebbins, were others of the company.
81Of the artists Mlle. Mery is a Parisienne, pupil of Martmontel and daughter of a celebrated animal painter. But 22 years old, since her father's death she has supported her family as an artist and professor of piano.
83M. Paul Lemaitre is the violinist who gives lessons to Mr. "World" Pulitzer's pretty daughter when in Paris. Mr. Pulitzer he describes as an unusual lover of music for an American business man. He is specially fond of the violin. A son of a wealthy lawyer of New York, Mr. Hungermeyer, is also his pupil. M. Lemaitre is cousin of Clement, the Opéra Comique tenor. The two are much affected for grand marriage ceremonies, &c. He is virtuoso and professor. His sister is concert harpist, also répétiteur or song director at the Conservatoire, and is expected to play at the next musicale; also Rakowski, one of Lamoureux's first violoncellists. You will remark that Mr. Stebbins was composer as well as executant in this affair.
85IN THE CLASS ROOM. A PHONETIC SYSTEM OF LEARNING FRENCH.
87In a recent letter you read of Mrs. Austin Lee, an American society lady who has won distinction as a singer
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