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Musical Courier 1895-12-11: Vol 31 Iss 823, 1895
70 lines. Read by computer on 27 September 2026. Printed page 31. See the scan on archive.org.
1Mme. Calvé will appear for the first time in this country at the Metropolitan Opera House to-night as Anita in La Navarraise, an opera written expressly for her by Massenet, in which she first appeared a year ago last June at Covent Garden in London. Later it was seen at the Opéra Comique in Paris.
3"The part of Anita," says the critic of the London Times in his comment upon the first performance of the opera, "exactly suits the exuberant animalism which is Mme. Calvé's most characteristic quality."
5La Navarraise may be briefly described as a transference of the exploit of Judith to the time of the Carlist war. The libretto, founded on a story of Clarette's, by the author and M. Henri Cain, treats of the love of Anita, a Navarraise, and a young soldier, Araguit. The latter's father, a well-to-do farmer, refuses to countenance the match unless the penniless girl can provide herself with a dowry equal to the amount possessed by her lover. She overhears the captain, Garrido, hastily offering a reward to the adventurer who should assassinate a valiant Carlist leader, Zuccaraga, and she determines to earn the sum promised.
7As she informs no one of her project, it is not unnatural that the purity of her motive in visiting the Carlist camp should be suspected by her lover, who, following her steps, receives a wound of which he dies just as she triumphantly claims the reward of the murder. With shouts of maniac laughter she throws herself upon the body as the curtain falls.
9The salient numbers of the opera are a broadly written prelude, a graceful and varied love duet, ending in an ensemble for three voices; a very charming orchestral "nocturne" which divides the two scenes from one another, a lively drinking song and chorus of soldiers, and a most dramatic finale.
11Calvé will be supported by M. Plançon as Garrido, a part which he originated; M. Lubert as Araguit, and MM. Castelmary, Mauguire and De Vries in minor rôles.
13As on the occasion of the first presentation of the opera in London it will be preceded by Orfeo, which, as it did then by its statuesque strains, will throw into greater relief the modern character of the new work. Mlle. Brema will appear for the first time in the title rôle of Gluck's work, while Mme. Engel will be the Euridice.
15Tannhäuser will be presented on to-morrow evening—the second subscription night of the series of German operas. On this occasion Herr Walnöffer, Herr Bucha and Herr Livermann will make their débuts here as Tannhäuser, Herman I. and Biterolf, respectively. Mme. Nordica will be the Venus, Mlle. Lola Beeth the Elizabeth, and Signor Kaschmann the Wolfram. Herr Mirsalis, Herr Riedel and Signor Viviani will also be in the cast.
17Friday evening the bill has been changed to Philemon et Baucis, with the same cast as at the first performance this season. Calvé will sing the mad scene from Hamlet and the Cavalleria will conclude the evening.
19Romeo et Juliette will be repeated on Saturday afternoon with the same cast as on the opening night of the season, and La Favorita will be the bill at the popular performance on Saturday night. Sunday night the usual concert will be given.
21The Hesselberg Concert Affair.
23RIVARDE, the violinist, and Mr. R. E. Johnston, his manager, have found themselves drawn into a most unworthy and ungrateful situation, and for them certainly a novel one, by the absurd dénouement of the Hesselberg concert in the Philadelphia Academy of Music on Saturday night last. Like every affair of mismanagement and disaster, a dozen different stories get into circulation, so that the exact state of the circumstances it is well to define clearly here, for the benefit of those who are interested in the true procedure of affairs.
25Mr. Johnston has been most seriously annoyed and discomfited, much more on the score of having been accidentally instrumental in placing an artist like Rivarde in such a false position than on any personal ground. Rivarde's standing as an artist and his immense success since his arrival are sufficient to assure large houses wherever it is properly circulated in advance that he is going to play. It was certainly not generally known in Philadelphia. That this was accidental and the fault of no one person in particular would appear the case, as certainly the situation is one in which everybody turns out a loser. The rent of the Academy was $150; there was about $100 for advertising bills, &c., which had to be paid at once, and the Hinrichs Orchestra cost $500. This made a total of $750 which had to be forthcoming before the band would consent to come on the platform. There was against it only $600 in the house.
27In the effort to keep a dignified face on matters and allow M. Rivarde to get as quietly and gracefully as possibly out of a humiliating fix, Mr. Johnson proposed that he would go on and give his program without any fee, if only the orchestra would consent to go on also and do their part. But the orchestra wasn't ready even to commute, and a Saint-Saëns concerto without accompaniment not being feasible, Mr. Rivarde's largest promise to the public was taken out of his hands by the orchestra's refusal to appear.
29Rivarde, however, came on and played one solo in his usual delightful manner, and the next time that the violinist undertakes to play in Philadelphia—if he is not permanently disgusted through this first experience—Mr. Johnston will no doubt see to it directly that his coming is well understood in advance.
31Mrs. M. D. Lee, the manager of the affair, is reported as follows in the Philadelphia Times of last Sunday:
33When seen late last night Mrs. Lee was quite overcome by her unfortunate experience. She said she had done everything she could to make the concert worthy of public patronage, and the failure of the public to respond was certainly not her fault. The advance sale had been just about sufficient to pay the rent of the Academy, which is always required in advance, but she had relied on what she thought was experienced advice, that the evening's receipts would be sufficient to pay the orchestra. Mr. Hoegerle, the business manager of the opera, had refused to assume any responsibility, and though Mr. Johnston had offered to give Mr. Rivarde's services for nothing and let the orchestra take all that came in, the musicians would not consent to play unless they had their money down. Mrs. Lee said she was anxious to fulfill all the obligations she had assumed to the public, and she would take time to consider how best to do this, and would make a full announcement of her plans on Tuesday morning, relying meanwhile on the kind indulgences of those who had been disappointed, as she felt, more through the musical indifference of Philadelphia than through any fault of hers.
35The whole affair has caused more heavy annoyance to M. Rivarde and his manager, Mr. Johnston, than to anybody else. For a successful, accomplished artist like Rivarde to travel under misconception and misarrangement to Philadelphia and find himself in such a predicament is an unpleasant experience in a smooth career. However, Rivarde can afford to forget it, and no doubt will shortly, in the numerous and prominent quarters where he is looked for with eagerness and greeted unexceptionably with numbers and enthusiasm.
37Geraldine and Paul Morgan.
39THE success achieved by these two admirable string artists at their recent appearances in the provinces has, if possible, been greater than heretofore. Two members of one family as individually gifted in the case of separate instruments as are Miss Morgan and her brother with violin and 'cello are rare and most interesting to find. Their separate performances are of superior excellence, and in ensemble work their mutual understanding and sympathy aid in the achievement of exceptionally artistic results. A few press notices here appended are typical of the universal commendation won by these two players. The following refers to the concert of the Allentown Oratorio Society and Euterpean Club:
41The solo work of the Morgans was delightful. De Munch's tender romance and Gotterdam's pathetic air gave place in turn to Poper's brilliant and laughable gavot and tarantelle, emphasizing anew the familiar fact that Paul Morgan is a master of the 'cello, and that the 'cello is the real king of instruments. Miss Geraldine Morgan gave Vieuxtemps' Ballade et Polonaise, Ries' Adagio and Sarasate's Zapateado on the violin with rare power, and won numerous encores. She and her brother played a duo by Vieuxtemps with charming effect. Miss Richardson's contralto solos were a Hindoo song, by Romberg, and the light ballad, One Spring Morning, by Nevin, with violin obligato.—Allentown (Pa.) Leader, November 9.
43Miss Geraldine Morgan, as usual, pleased everybody with her charming violin solos. Her brother, Paul, made his first appearance at this concert, and easily established his reputation as a master hand in the several lovely solos given by him on the violoncello.
45The duo by Vieuxtemps, for violin and 'cello, with piano accompaniment, played by Mr. Marks, was by many accorded the place of honor as being the most pleasing instrumental piece in composition and execution of the evening.—Allentown (Pa.) Morning Call, November 29.
47At the Apollo Club concert, Cincinnati, on December 4, Miss Morgan was heard with immense success.
49Miss Geraldine Morgan, the young artist who appeared at Miss Gores' concert, played with the same fire and enthusiasm which had won her the plaudits of her first audience in this city. Miss Morgan has a wonderful command of her instrument. It would be unkind to speak of such a frail, delicate looking young person as the new woman in music, but there is a masculinity in the strong, full tones which she draws from the strings which would almost justify it. Buoyancy and vivacity, purity of tone and remarkable facility in fingering were shown in her performance last night, and the only thing to be wondered at was that she didn't undertake the great concertos which her master, Joachim, has set as the final goal of the violinist's ambition. There are greater violinists than Miss Morgan, but not of her sex and age. She won two encores and added considerably to her laurels by last night's performance.—Cincinnati Tribune, December 6.
51Miss Geraldine Morgan, the charming violin virtuoso, won an easy victory over the enthusiastic audience. As her first number she played Wieniawski's polonaise on her own magnificent Stradivarius, and as encore a romance by Svendsen.—Cincinnati Commercial Gazette, December 5.
53In Lebanon, Pa., Mr. Paul Morgan played on December 2, and his solo work evoked enthusiastic praise from the local press. The Lebanon Report of December 3 says: "Mr. Morgan handled his instrument with an ease and produced a tone of sweetness and power such as would be difficult to equal. The Scène de Ballet had all the life, the vivid change, the airiness and light heartedness conceivable, while in all the works of a sustained character he drew from the 'cello all the beauty of tone and feeling it can convey."
55The Lebanon (Pa.) Times says: "Mr. Paul Morgan, of New York, captivated his audience with his mastery over the 'cello. He was encored after each number and four times he gracefully responded. The romance and chanson were especially fine."
57In every instance where these artists have played recently they have obtained similar commendation. Their popularity is great, but so is their merit, and success built upon their secure foundation is bound to last.
59Stabat Mater.—Besides a miscellaneous program Rossini's Stabat Mater will be given at the Metropolitan Opera House next Sunday evening. The solo singers will be Nordica, Gertrude May Stein, Mauguire and Plançon.
61Blumenberg.—The December engagements of Blumenberg, the violoncello virtuoso, are as follows: Albany, N. Y., 12th; New York, 15th, Arion Society; Spartanburg, S. C., 18th; Charleston, S. C., 20th; Savannah, Ga., 21st.
63Tealdi Vocal Studio.—Mme. Margherita Tealdi, a teacher of Italian principles, has opened a vocal studio in the Abbey Building, Broadway and Thirty-eighth street. Mme. Tealdi is earnestly enthusiastic upon the subject of pure Italian method of voice production.
65The Annual Messiah.—The annual Christmas performance of The Messiah by the Oratorio Society of New York will be given in Carnegie Hall on December 27 and 28 with the following soloists: Mme. Clementine de Vere-Sapio, soprano; Carl Naeser, tenor, and Mr. Ericsson Bushnell, basso. The contralto will be announced later.
67Second Philharmonic Concert.—The Philharmonic Society, under the conductorship of Anton Seidl, will give its second public rehearsal and concert in Carnegie Hall on Friday afternoon and Saturday evening. The program has been arranged to commemorate the 125th anniversary of the birth of Beethoven, and comprises his Egmont overture, his minuetto and allegro moto from quartet in C major and his symphony No. 7. Mme. Fannie Bloomfield Zeisler will play his concerto for piano in E flat major, and Mme. Clementine de Vere-Sapio will sing Ah! perfido.
69Paderewski Will Play.—Paderewski will be the soloist of the next concerts of the Symphony Society on January 3 and 4, when he will play the Liszt concerto in E flat major. At this concert, owing to Mr. Damrosch's absence in the West, Frank Van der Stucken has been invited to conduct, and will come on from Cincinnati to do so. In order to afford those interested in closely watching Paderewski's technic a better opportunity a limited number of seats will be sold on the stage. Paderewski's appearance with the Symphony Society will be his last in New York previous to an extended trip West, and in all probability his last but one in New York for the entire season.
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