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Musical Courier 1895-06-05: Vol 30 Iss 796, 1895
93 lines. Read by computer on 23 September 2026. Printed page 21. See the scan on archive.org.
1the scene between Œdipus and the Sphinx! Can you not imagine it?
3Or it is Jacques Offenbach who tells of the drunken indiscretion of Laius in galop rhythm. He, too, could have set the scene of the solving of the riddle for all time. And there would have been a cancan finale with Jocasta, Œdipus, the Messenger, the Servant and Creon, assisted materially by the chorus.
5Saturated with these thoughts, imbued with the spirit of antiquity, I awaited the rise of the curtain last Monday night to see how Messrs. Browne and Thompson had interpreted the legend.
7But this Sphinx is the Sphinx of Egypt, the gigantic Ethiopian woman. 'Tis the colossal symbol incarnated in palpitating eternal maidenhood, for Hathor is the spirit of the Sphinx. To her go lovers about to wed; to them she puts a riddle, the answering of which insures happy wedlock. Love is permitted her, but the risk is a fearful one, for if she is loved and loves, and if the lover urge her to marriage, she must needs propound a riddle to him, which must be solved correctly within a minute, else she crumbles into dust and is blown to and fro by the winds of the desert.
9The curtain rises on a girls' school, of which Pteecha is the principal. Pteecha is secretly engaged to this magician and villain, who cannot live by casting horoscopes or brewing love potions, as the times are hard; he has therefore mortgaged some of the mummies of his family to Hathor, who prefers such investments to real estate. He knows the secret of the Spirit of the Sphinx, and hopes to see her destroyed that he may then be out of debt. The girls bewail their tedious life, away from men, doomed to study. They are light and frivolous maidens, most fair to look upon, with slashed skirts, sweetly revealing and concealing. This appears, disguised as a professor of hieroglyphics, who draws them from the wood.
11The girls dismissed, he reveals himself and talks of business with Pteecha. Bedouins appear over the garden wall, with Neferkera at their head. They tell of their bold summer life, and how, when the season is over, they swell it at Cairo. About this time expect the old joke "folding Bedouins." There is a Bedouin to each girl, and of course there is a male chorus with orchestral local color. Knocking at the gate. Enter valet, irreproachable in dress, plug hat and gloomy expression. 'Tis Mr. Ptimmens, who never speaks. He presents to Pteecha the card of his master, Professor Papyrus, traveling in Egypt. Of course Papyrus sings an explanatory song à la Gilbert. Finally the Bedouins and the girls announce their intention of visiting the Sphinx to receive the riddles. Papyrus begs to go. In vain. But Ptimmens shows his master a riddle book with a thousand answers. Papyrus tells the crowd that there stands the greatest riddle guesser of the age. Ptimmens is immediately secured for the journey, and Papyrus is also taken along ex-officio. Curtain.
13Act II. A most impressive stage setting, one of the finest I have ever seen in comic opera. The colossal Sphinx smiles at the audience her everlasting, strange, perplexing smile. This enters. Scene with the mummies, who are naturally impatient and vexed. He tells them his plot; to sprinkle a powder near the Sphinx and thus induce love between Papyrus and Hathor, for her destruction; to bind and conceal Ptimmens, that the riddles may not be answered. Mummies dance with joy, clumsily, as those about to run in a sack race. Enter Ptimmens, who is immediately kidnapped. Enter chorus headed by Papyrus. Prayer to the Sphinx. Hathor appears in the body of the monster. Hathor a graceful apparition.
15The riddles are distributed to the girls, who with their lovers go into the solitudes for meditation. The wooing of Hathor, ingenious maiden, by the bashful Papyrus. Re-enter chorus, seeking Ptimmens. No Ptimmens. Rage; despair; threats against Papyrus. For love of him, Hathor extends the time of solution, although her action may shake the pillars of Egyptian society. Curtain.
17Act III. A very effective scene; oasis in the desert; far away the Pyramids and the Sphinx. Here, the action tired, goes out to see a man and stays some time. Songs, songs, songs. Love making of an uninteresting nature. Ptimmens finally appears in alcoholic state. He, however, is able to write the answers of the riddles, while he whistles nimbly. Falling down in drunken stupor he drops the precious book, which is seized on the sly by This. Rejoicing of Bedouins and maidens. Papyrus sings a topical song. Hathor, after he has proposed, propounds the fatal riddle. Sweat stands on Papyrus' brow. Ptimmens is of no assistance. In desperation Papyrus shrieks out "Time." It is the answer to the riddle. Curtain.
19A thin plot, you say. But the thinness is not apparent until the third act. Ah, the crucial third act! Too often it is the abomination of desolation. Here it 's that the manager scowls on librettist and composer and bethinks him of his dancing men and women, his doers of turns, his gaggers of gags, freaks, and Amazonian marches. I think it would have been better if Mr. Browne had condensed his two last acts into one.
21But the libretto is in many respects excellent. Not only are the lines free from cheap vulgarity and the situations free from inevitable horse play; the lines are almost always entertaining; they are often funny, they are at times of unusual and genuine wit. The lyrics are fluent and musical. The plot is well exposed and ingeniously developed, up to the standstill at the opening of the third act. Mr. Browne, a Bostonian, had already showed his ability as a writer of comedy. In this libretto he gives actual performance as well as high hopes of an operetta future.
23The music by Mr. Thompson, also of Boston, the composer of Prince Pro Tem and songs, is eminently tuneful, appealing continually to foot and ear. It is well made, and the choruses are conceived in broad and liberal fashion. But the music is reminiscent. There is also an abuse of the waltz movement, and the sentimental ditties suggest too frequently the sheet music song so dear to English drawing rooms.
25The operetta is most handsomely mounted. I have already spoken of the scenery. The costumes are rich, extremely tasteful as regards color. The groupings and stage business show the experience and skill of Mr. William Seymour, who prepared the piece for its production.
27The performance was a smooth one. The choruses were admirably given. The conductor, however, showed a lack of rhythmical feeling, and his beat was not elastic.
29Miss Millard, a daughter of Harrison Millard, made a very favorable impression. She sang with skill; she acted discreetly, and her personality has a fragrant charm. Welcome, indeed, is she to the operetta stage. Engaging and exciting was the coquetry of Miss McDonald. Mrs. Bell was simply Laura Joyce and Mr. Stevens was Mr. Stevens. They preserve their identity in marvelous fashion, no matter what may be the title of the piece in which they play their pranks. Messrs. Allen and Baldwin were excellent in their respective parts. Mr. Libbey sang with set earnestness. He did not introduce After the Ball.
31The audience of the first night was in a joyous and receptive mood. Everything went. The encore fiend was legion. There were calls for librettist, composer and stage manager. There were also "floral wreaths, floral decorations and floral tributes." The piece is to run five weeks, I understand.
33It was in 1892 that the Hasty Pudding Club, of Harvard, produced The Sphinx, text by Mr. David Gray and music by Mr. Thompson. The libretto of the new Sphinx is entirely original and written for this occasion. Some of the music written by Mr. Thompson for the Pudding has been retained.
35Mr. Charles A. Ellis has resigned his position as manager of Music Hall, and will confine his attention to the Symphony Orchestra and the Melba Concert Company. Mr. Mudgett will take his place as manager of the Hall. Mr. Combee will remain with Mr. Ellis.
37Mr. E. A. MacDowell sailed for Europe last week. He proposes to visit Paris, but he will spend the greater part of the summer near Vevay, where he will work on a symphony.
39Fra Diavolo will be given at the Castle Square Theatre to-morrow evening. Mr. George W. Travener will be the Diavolo.
41PHILIP HALE.
43Boston Music Notes.
45Thomas Tapper has just published a series of six Music Readers for the use of public schools. This work has occupied him during the greater part of the winter. In July he will go to Europe upon business connected with this work, or rather series of work, for it is intended to publish another series of six books in the near future.
47Mr. and Mrs. E. A. MacDowell sailed from New York to-day on the French steamer La Champagne.
49Among the passengers sailing to-day from Boston on the Catalonia are Mr. and Mrs. Arthur Foote and Miss Katherine Foote, Miss Augusta Klous and F. A. Oliver.
51Sousa's Band will come to the Boston Theatre a week from Monday. The assisting artists will be Miss Marie Barnard, soprano, and Miss Currie Duke, violinist.
53The Roxbury Musical Society, Mr. F. W. Wodell conductor, gave a concert at Union Hall on Tuesday evening. The society was assisted by Mr. Alcide de Andria, Mr. Geo. Sykes and Mr. Frank King. Mr. Albery C. Russell was the accompanist.
55The Riverside Song Book, just published by Houghton, Mifflin & Co., is composed entirely of American poems set to music—in fact it is a most patriotic collection of songs intended for the use of schools. The compilers of the book were assisted by Prof. C. E. R. Mueller.
57Mr. Anthony Stankowitch during his recent visit to this city gave an informal recital at the rooms of the Virgil Practice Clavier Company on Boylston street, when several of the leading musicians enjoyed a program of about an hour's length. The program was almost identical with the one arranged for Bradford.
59Two sacred songs published by Arthur P. Schmidt by local composers are Close to the Hand that Feeds Me, G. W. Marston, and Holy Is God (Sanctus), S. M. Downs.
61The programs of the New Hampshire Philharmonic Association are contained in three books well gotten up and profusely illustrated with pictures of the assisting artists. The whole festival was a most pronounced success.
63There was a recital on Thursday evening at the New England Conservatory of Music by the Chorus Class, conducted by Signor Augusto Rotoli, assisted by students of
65New and Successful Music.
67PUBLISHED BY
68E. ASCHERBERG & CO., London.
69E. SCHUBERTH & CO., New York.
71SPECIALY SELECTED SONGS.
72Where Shadows Are Not (in four keys), F. H. Cowen
73Say, Yes! Mignon, and Amorita (each in two keys), Gurl'd'Hardelet
74Spring Is Here, She Loves Me (each in three keys), Edith A. Dick
75SPARKLING DANCE MUSIC.
76Bridesmaids' Barn Dance (Milton-Wellings); Gipsies' Barn Dance (Celian Kottaun); Al Fresco Barn Dance (Clifford), etc., etc.
77COMIC OPERAS AND BURLESQUES.
78Cavalleria Rusticana, Pagliacci, L'Amico Fritz, I. Rantza, Djamileh, Philemon et Baucis, Signa, Lady of Longford and Quentin Durward.
80LONDON: E. ASCHERBERG & CO.
81NEW YORK: E. SCHUBERTH & CO.
83COLOGNE-ON-THE-RHINE.
85THE CONSERVATORY OF MUSIC.
86FOUNDED IN 1850. PRINCIPAL: PROFESSOR DR. FR. WÜLLNER.
87The Conservatory embraces: First, Instrumental comprising all solo and all orchestral instruments; second, Vocal and Orchestral, Theory of Music and Composition Schools.
88The Vocal School is divided into two sections: a) concert singing and b) operatic singing. There is also a training school for pianoforte teachers. In connection with these subjects there are classes for Italian, German, literature, liturgy, choral singing, ensemble playing (chamber music), ensemble singing, musical dictation, elocution, sight reading, orchestral playing, conducting, &c. &c. Teaching staff consists of thirty-two teachers.
89Said Conservatory opens its doors to students April 1; Winter Term, September 16. Next entrance examination takes place April 1, at the College (Wolfstrasse 8-5). The yearly fees are 300 marks ($75) for piano, violin, viola, violoncello classes; 200 marks ($50) for all the other orchestral instruments, and 400 marks ($100) for solo singing.
90The next term begins with September 16.
91For full details apply to the SECRETARY,
92WOLFSTRASSE 3-5, COLOGNE, GERMANY.
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