Scan 25
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
68 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1MY last week's budget closed with the information that Sir Arthur Sullivan's serious opera Ivanhoe, the long postponed Berlin première of which took place a week ago to-day, proved an undeniable, unqualified and most pronounced fiasco. I can to-day only confirm this statement and supplement it with the further information that the audiences at the two repetitions of the work which have since been given have corroborated the judgment of the first nighters. Why shouldn't they? Ivanhoe is really not a good work, nor—and this is much more disastrous—an interesting one.
3As far as the music is concerned this is Sir Arthur's fault, of course; but he is not alone to blame in this matter, for even a stronger and more original composer than the amiable Englishman would have had a hard and, I believe, thankless job in setting music to this hodge-podge of a book.
5When I was a boy of about fourteen, and in the third class from the top in the Aix-la-Chapelle High School, the first book which I was able to read in English was Oliver Goldsmith's Vicar of Wakefield. I remember well that it interested me so much and that my excitement in reading it was so great that I dispensed with the then still necessary aid of the English-German dictionary, and preferred guessing at the meaning of such words which were unknown to me, instead of losing time in looking them up. With boyish ardor I at once resolved to read the entire English literature—Shakespeare, Milton, Byron and other works. The second book given to me happened to be Sir Walter Scott's Ivanhoe, and it cooled down my ardor so extensively that it took me a long time to get over the disappointment, for it was nearly ten years later that at Morrisstown, N. J., I got acquainted with the remainder of the great English novelist's writings, and with tears for Amy Robsart I wiped out the feeling of resentment which the tediousness of Ivanhoe had caused me.
7The first impression, however, was a lasting one, and even when a few years after the reading of the novel I saw and heard for the first time in my life at Cologne Marschner's now antiquated opera, Templar und Jüdin, the libretto of which is based on the story of Ivanhoe, I felt the vast superiority of the composer over the poet, and wondered how such music, teeming with inspiration, especially in the folk life scenes, could have been wasted upon such a book. Even now I am of opinion that Marschner's opera would live, instead of being relegated to the shelves of the theatre libraries, if the libretto of Templar und Jüdin could be revised or rather improved.
9Such is the fate of many a musically good opera with an undramatic book, and I believe the opposite is also occasionally the case. However, the libretto which Marschner composed (I can't remember this moment the name of its compiler) is still leagues better and more logical than the one which was furnished Sir Arthur by Julius Sturgis, and the German translation of which by H. Wittmann, of Vienna, is even poorer than the original. The four acts of Ivanhoe are subdivided into nine different scenes, which are loosely strung together and lacking in logic as well as coherency. The entire book is episodic and presupposes in the listener an intimate knowledge of Scott's novel, or else I don't see how he is to "get the hang" of it. So much for the book.
11The music, however, is, if possible, still more episodic and, despite a few weak attempts at Leit, or memento motives, lacking in logical development. Even from a purely technical view point it is disappointing, for the orchestration, which in Sullivan's comic operas is graceful, light and peculiarly characteristic, is in Ivanhoe commonplace and singularly ineffective throughout, and the few attempts at orchestral polyphony are so puerile and conservatoristisch that I cannot understand how Sir Arthur could ever have gained the reputation of being a great musician. The English, if they have so far failed to produce a really great composer, have at least furnished the world with some contrapuntal writers who can command esteem for their learning and technical skill. Sir Arthur Sullivan, however, is not one of them. Serious opera is evidently not his field, for he lacks everything, and especially that grandest gift of all—invention.
13Ivanhoe is barren of original thoughts or musical creativeness of any sort. Even the few efforts which are made at musical characterization are weak in conception and are left unfinished. Thus the fateful person of Ulrica is only indicated, while the Jewish coloring attempted in depicting the character of Rebecca has been far surpassed by both Rubinstein and Goldmark, the latter in his Queen of Sheba and the former in such works as The Maccabaeus and The Tower of Babel. They, however, had the advantage of having been "to the manner born," which cannot be said of Sullivan. The only favorable exception is the character of Friar Tuck, and it is here where the composer of Pinafore, Patience and The Mikado shows his hand. The second act, with its drinking scene of the aforesaid sonderbarer Heiliger and the black knight is Sullivanian in the best sense of the word; it is the only Lichtblick in three hours of musical gloom, and—it was appreciated by the audience. After this second act a feint of applause was made by the audience, among whom was, of course, the entire English colony, and Sir Arthur was called before the curtain once.
15The first act had been received with coldness, not a hand being raised in applause. The third act furnished occasion for subdued applause, meant for the beautiful and effective scenery, and the last act also raised some audible tokens of appreciation, which I doubt not were intended for the really superb representatives of the main rôles, but which, they not being allowed to appear before the curtain, were made the occasion for another single and final bow of the composer to the audience. If this is not a fiasco, then I don't know what a fiasco is. And then the papers the next morning! All this in spite of the fact that the most tremendous efforts had been made to "boom" Ivanhoe. The audience was the most swell one that could be gathered in Berlin, such a one as is only seen on extra occasions when the Emperor and Empress are present, and when the prices are raised to 10 marks in the parquet, as was the case for the Ivanhoe première.
17As for the mise en scène, it was the most gorgeous and expensive one I have yet seen at the Royal Opera, and that means a great deal. So carefully had Tetzlaff prepared the scenic portion of the performance that the various changes in each act were effected with an almost lightning-like rapidity, and in fact in several instances even too quickly, for scenes which in the novel are separated from each other through time intervals of some days you don't want to see upon the stage following each other with only half a minute or less hiatus of action; it disturbs the imagination. The scenery itself, consisting of nine pictures, was beautiful. The tournament scene, with live horses, was most effective, and the burning of the castle so realistic and lifelike that it made one of the most horribly beautiful of stage pictures.
19If the eye had thus every reason to be satisfied, no less was done for the ear. The cast demands over a dozen artists; and for that reason I think there are comparatively few of the world's opera houses which could give Ivanhoe with complete and in each instance sufficient personnel.
21The Berlin Royal Opera, of course, had no difficulty in furnishing all that was required, and the composer expressed himself as highly pleased with the representation. So did His Majesty the Emperor, who asked Count Hochberg to convey his thanks for the performance to the various artists. H. I. H. also had Sir Arthur Sullivan called into the royal box and complimented him highly upon his work, promising at the same time that he would attend some of the repetitions of Ivanhoe. This is more than I would care to do, unless indeed I were highly paid for my loss of time and for the weariness I would have to undergo in again listening to Sir Arthur's tedious opera. For this reason I was also grateful to the Emperor afterward that the press was not (as has always formerly been the custom from the time of the régime Hochberg-Pierson) invited to the general rehearsal of Ivanhoe. His Majesty had pronounced it his intention to attend the general rehearsal, and therefore had wished that nobody else should be present, somewhat on the lines of the Separat Vorstellungen that used to be arranged at Munich for and by the command of the late King Ludwig II. of Bavaria. The funny thing, however, was that the Emperor, after all, did not put in an appearance at the final rehearsal.
23But to return to the performance, I must mention with greatest praise the careful way in which the opera had been studied under Dr. Carl Muck, who conducted with his accustomed earnestness and circumspection. The efforts of the chorus and orchestra therefore could not have been improved upon. Of the principals, Sylva in the title part greatly distinguished himself vocally and histrionically. Miss Hiedler, our naturally blond Gretchen soprano, looked strange but by no means less beautiful in the dark make-up of the Hebrew girl. She was in excellent voice and sang well. Bulsz, as Brian de Bois Guilbert, comthor of the Order of Templars, surpassed himself in the dramatic verve and forcefulness of the character he represented. His singing and acting in the great duo with Rebecca brought down the house, and it was for these two artists, as I said before, that the applause was meant which finally brought Sir Arthur before the curtain. Krolop is always funny whenever there is the ghost of a chance for it, and he was particularly felicitous in his representation of the streit und trinkbare Friar Tuck. Stammer sang and looked well as Richard Cœur de Lion in the guise of the black knight. Frau Goetze distinguished herself in the more important than extended part of Ulrica, and Miss Weitz was in every way a charming Lady Rovena. Even the minor male rôles were all excellently represented by Messrs. Fraenkel, Schmidt, Moedlinger, Sommer, Krasa, Mueller and Quaritsch, and, as I said before, Sir Arthur Sullivan has every reason to be satisfied with the representation if not with the success of his opera. Moreover, he seems to be aware of this fact, and in grateful remembrance of the honest efforts which all the members of the Royal Opera made in his behalf he sent before leaving Berlin 500 marks each for the pension fund of the chorus, the orchestra and of the stage hands, altogether the sum of 1,500 marks. one of two readings
24But to return to the performance, I must mention with greatest praise the careful way in which the opera had been studied under Dr. Carl Muck, who conducted with his accustomed earnestness and circumspection. The efforts of the chorus and orchestra therefore could not have been improved upon. Of the principals, Sylvia in the title part greatly distinguished himself vocally and histrionically. Miss Hiedler, our naturally blond Gretchen soprano, looked strange but by no means less beautiful in the dark make-up of the Hebrew girl. She was in excellent voice and sang well. Bulsz, as Brian de Bois Guilbert, comthur of the Order of Templars, surpassed himself in the dramatic verve and forcefulness of the character he represented. His singing and acting in the great duo with Rebecca brought down the house, and it was for these two artists, as I said before, that the applause was meant which finally brought Sir Arthur before the curtain. Krolop is always funny whenever there is the ghost of a chance for it, and he was particularly felicitous in his representation of the streit und trinkbare Friar Tuck. Stammer sang and looked well as Richard Cœur de Lion in the guise of the black knight. Frau Goetze distinguished herself in the more important than extended part of Ulrica, and Miss Weitz was in every way a charming Lady Rovena. Even the minor male rôles were all excellently represented by Messrs. Fraenkel, Schmidt, Moedlinger, Sommer, Krasa, Mueller and Quaritsch, and, as I said before, Sir Arthur Sullivan has every reason to be satisfied with the representation if not with the success of his opera. Moreover, he seems to be aware of this fact, and in grateful remembrance of the honest efforts which all the members of the Royal Opera made in his behalf he sent before leaving Berlin 500 marks each for the pension fund of the chorus, the orchestra and of the stage hands, altogether the sum of 1,500 marks. one of two readings
26The Opera première made me miss the simultaneous song recital of Mrs. Lillian Sanderson in the Saal Bechstein. But as this charming lady and Leider singer will soon visit the United States, I think it will interest you if I give at least her well selected program, which was the following:
28Bete auch du………………………………………Hugo Rust
29Das Trauergewand………………………………….Aug. Bungert
30Die Scheuerfrau…………………………………….Hugo Wolf
31Das Rosenlachen…………………………………….Lindblad
32Elfenlied…………………………………………….Ph. zu Eulenburg
33Der Postillon…………………………………………
34Die grünen Blätter…………………………………..
35Ottar……………………………………………………W. A. Mozart
36Vorbei…………………………………………………
37Arete……………………………………………………Schumann
38Das Veilchen………………………………………… one of two readings
39Das Veilchen…………………………………………. one of two readings
40Warnung…………………………………………….Bizu one of two readings
41Warnung…………………………………………….. one of two readings
421, 2, 3, 4, 5, 6, 7, a. d. Cyclus Dichterliebe
43Aus den hebräischen Gesängen………………..Schumann one of two readings
44Aus den hebräischen Gesängen………………… one of two readings
45Schöne Fremde……………………………………..Bizu one of two readings
46Schöne Fremde……………………………………… one of two readings
47Volksliedchen………………………………………Bizu one of two readings
48Volksliedchen……………………………………….Bizu one of two readings
49La cocinelle…………………………………………Tirindelli one of two readings
50La cocinelle…………………………………………. one of two readings
51Rimanete, vi prego…………………………………Gounod one of two readings
52Rimanete, vi prego………………………………….Tirindelli one of two readings
53Mein Schatz ist auf der Wanderschaft………….Zarzycki one of two readings
54Mein Schatz ist auf der Wanderschaft…………..Gounod one of two readings
55Zwischen uns ist nichts geschehen……………….Zarzycki
57Wednesday evening I can pass over with a very few remarks, for I first heard a pianist who does not deserve much mention and then a violinist about whom both Mr. Abell and myself have already written so much that no further mention is needed.
59The pianist is Herr Heinrich Lutter, who gave a concert in Bechstein Hall and proved to me in the Beethoven F major variations, op. 34, and in the Schumann Papillons that he plays like an amateur conservatory pupil, and has as yet no business to appear in public. The numbers were preceded by a piano quartet in E flat, op. 38, by Rheinberger. Like most everything else that emanates from the fertile pen of the Munich teacher of composition it is well written for the instrument, smooth and euphonious, nice in form and interesting in workmanship. That is all I can say for it. Originality or big ideas are nowhere perceptible; still it is good music, and should be heard once in a while—let us say once in a great while.
61The string instruments were in the trustworthy hands of Messrs. Zajic, Krelle and Gruenfeld, and consequently fared better than the piano.
63Alexander Petschnikoff, the violinist referred to in the previous paragraph, was heard for the first time here with orchestra and in so large a hall as the Philharmonie. Under both circumstances he preserved his big, beautiful and noble tone, as well as his attractiveness for the public. Wilder scenes of genuine enthusiasm as were enacted after this concert I have not seen even after or at a Paderewski recital, and in fact it seems to me that this young Russian is going to prove the Paderewski of the violin.
65On account of the above mentioned concert I missed the second Wieniawski violin concerto, which I should very much have liked to have heard; but I was in time to hear once more the largo and fugue in C major from Bach's unaccompanied violin sonata in that key, and I raved once more over it, just as did the public.
67Then I dreaded the Mendelssohn concerto, for I am sick and tired of it, and the Bruch G minor concerto, which was played only three times last week. But, lo and behold! the over-sugary E minor concerto became palatable once more, and I found myself listening to Petschnikoff's reading of it with attention, pleasure and satisfaction, almost in spite of myself. A more beautiful tone than he produced in the slow movement I don't expect to hear again on this side of kingdom come, and for purity of tone as well as cleanness of intonation I have not yet heard his equal. After the finale of the Mendelssohn concerto (which was not taken at the usual virtuoso speed, but was performed with the main stress laid upon the musical side) a perfect furore of applause broke forth,"in which the orchestra joined most heartily. Petschnikoff made use of the musicians' enthusiasm by holding them (at least the string orchestra) for the accompaniment of his first encore, Bach's celebrated air on the G string. Still the public's
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