Scan 46
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
71 lines. Read by computer on 26 September 2026. Printed page 47. See the scan on archive.org.
1CHICAGO, December 14, 1895.
3THE holidays have caused a decided lull in musical matters of all kinds and descriptions, and prospective concert givers have wisely postponed their entertainments until the new year. This season, so far as it has gone, has been busy in a very fitful way, one week brilliant, the next hopelessly dull.
5The most noticeably interesting of late events occurred on Monday night last, when the Auditorium, the scene of so many benefits and innumerable triumphs, held a huge celebration on its own behalf to commemorate the sixth anniversary of its existence. The great attraction was the appearance of the entire First Regiment of the Illinois National Guard, the band of which aroused great enthusiasm. A very mixed program was presented, and the calibre of the assisting soloists' varied as much as the selections, which ranged from the Star Spangled Banner to the Seguidille and Chanson Bohême, from Carmen. Why, oh why, must a would-be prima donna, who is still in the chrysalis stage and possessing the crudest ideas upon vocal art, consider it necessary to essay an interpretation of a most difficult masterpiece of Bizet?
7I once heard Schira tell an embryotic Patti that if she must sing, let it be God Save the Queen, but for heaven's sake to leave the Habanera alone. He added that there were only two people who could do justice to Carmen, the one Minnie Hauck, the other the incomparable Trebelli. Poor old Schira, it was not permitted him to live to hear the present day Calvé.
9But to return to the Auditorium concert, the audience was pronouncedly of the popular order and rose as one man to the Star Spangled Banner, an ear splitting chorus being the result. What was lacking, however, musically found ample compensation in its intensely loyal fervor, and at the conclusion of the song cheer upon cheer was given. When these patriotic ebullitions had somewhat subsided the program proceeded on its ordinary way, and only the singing of Clarence Whitehill lifted the entertainment from absolute mediocrity. This artist, since Melba's endorsement of his voice, has been made much of by all sorts and conditions of society, and his services have been eagerly requisitioned. Gifted with a prepossessing appearance and a great voice, the diva predicted for him a big future if he had the perseverance to continue through the arduous studies necessary to those who would reach the foremost places in the professional ranks.
11Apropos of Melba, she has not usually been credited with any superabundance of romanticism, but an incident which happened upon her recent visit to this city speaks strongly to the contrary. It was a matinée performance, and Mrs. Brown-Potter and Kyrie Bellew were playing in Camille. The prima donna occupied a box. When the third act ended Melba left the theatre very suddenly, seemingly a proceeding of doubtful courtesy. The following morning, however, Mrs. Potter, who had at that time not met the great singer, although visits have since been interchanged, received a penciled letter which I have seen, from Melba, apologizing for her hasty departure. "Your powerful, grand and pathetic delineation of Camille so worked upon my feelings that I was really quite overcome, and had I remained any longer I should have been forced to howl, the consequence being that there would have been no concert last night."
13Dr. Ziegfeld, of the Chicago Musical College, deserves congratulation on the new departure in affording his students the opportunity of hearing a lecture from that master of the art histrionic, Joseph Jefferson.
15Hundreds of admiring girls, of all ages and sizes, gathered around the veteran and vigorously applauded every touch of wisdom and humor the great comedian knows so well how to administer. The Apollo Hall was crowded to the doors, and at the finish a presentation of roses to Mr. Jefferson completed a very enjoyable afternoon.
17The Chicago Orchestra concert on Friday afternoon has now become little more than a society rendezvous. In fact, not inaptly the announcements might promise "chat and a little music." Notwithstanding the evident earnestness of purpose and preference for the idyllic program, from a musician's standpoint, of Theodore Thomas, still doubtless he finds it better policy to study the temperament and taste of his audience, as the selections chosen yesterday were distinctively popular in character; delightfully played, they were just suited to those seeking amusement as well as musical intellectuality.
19Marsick was the great drawing feature of the afternoon, and exhibited all the showy elegances of which he is a past master, but few of the spiritualities of the virtuoso. Nevertheless, he was well received, but he failed to create the profound sensation expected after the heralding he had been given.
21FLORENCE FRENCH.
23Georgine von Januschowsky.
25ALL the more interest attaches to the return of Mme. Georgine von Januschowsky to America as one of the leading dramatic prima donnas of Messrs. Abbey & Grau's Metropolitan Opera House company for next season because it has not been so many years since she was best known here as a singer of soubrette rôles in comic opera. It is true that for two or three seasons prior to her departure for Vienna, two and a half years ago, she had sung principally in English grand opera, but it was to her previous appearance in lighter works that she chiefly owed her reputation.
27In Vienna, however, for the last two seasons Mme. von Januschowsky has held the enviable position of dramatic prima donna at the Imperial Opera House, and there she has won the praise and commendation of Hans Richter—marks of esteem which that celebrated Wagnerian conductor is especially chary of bestowing.
29The singer has changed very little in appearance since she was last seen here at the Manhattan Opera House, now Koster & Bial's, during the ill-fated English opera season which Mr. Oscar Hammerstein attempted to give there. She is of medium height and build and of rather dark complexion. Dark brown hair, tastefully arranged, forms a frame for a bright, intelligent face that is frequently lighted up with smiles—one of its chief charms. She dresses simply and wears but little jewelry.
31"I have never been fond of society," she said yesterday, when I saw her at the Hotel Belvedere, "and when I am not working I find my greatest pleasure in the companionship of my husband and my boy. I like to spend my vacations in the country, where my son and I take long walks and live out of doors as much as possible."
33Mme. von Januschowsky, who in private life is Mrs. Adolph Neuendorff, belongs to an old Polish family. Her father was George Ohm-Januschowsky von Wissehrad, an officer in the Austrian army and afterward a distinguished editor, while her mother was Julia Matthay, Baroness von Kattelbrunn. She was born in Olmuetz Poland, but after her father's death she removed with her mother to Vienna, where she received her education.
35"My mother," she told me yesterday, "had a fine voice, and would probably have gone on the stage had it not been for her constitutional timidity. Both my sister and I inherited the voice, but not, I am glad to say, the timidity, and we began our professional careers at an early age. I sang in a church choir when I was only seven years old, and as I grew older I often appeared at amateur concerts. My professional début, however, was made nearly twenty years ago as an actress in a dramatic company which played in Stuttgart, Sigmaringen and Ulm. As I could sing I was also given small parts in comic opera.
37"The next season I played in Gratz and afterward in Vienna, at the Theater an der Wien, where I succeeded Marie Geistinger. Then I went to the Stadt Theatre in Leipsic, where I was the soubrette for two years, after which I came to America."
39Mme. von Januschowsky's first American engagement was given to her in 1880 by Mr. Neuendorff, whom she afterward married, and who was at that time the manager of the Germania Theatre, now Tony Pastor's. She continued the soubrette of Mr. Neuendorff's company for several seasons, and then, in 1888, she made her début in English comic opera at the Bijou Theatre in Boston, where she sang in The Beggar Student and the Trip to Africa. McCaul next engaged her for the Casino here, where she was heard in The Little Duke and Prince Methusalem.
41At the conclusion of this engagement she retired from the stage to study for two years, and at the end of that time, in 1890, she was engaged by Mr. Stanton for the German opera season at the Metropolitan.
43IN GERMAN OPERA AT THE METROPOLITAN.
45"During that season," said Mme. von Januschowsky, "I sang the minor dramatic rôles. The following year I was engaged with De Lussan and L'Allemand as one of the prima donnas of the Boston Ideals, and I sang Marguerite in Faust, Michaela in Carmen, Leonore in Trovatore and Agnes in Der Freischutz. For the next two seasons, with Emma Juch's company, I appeared as Fidelio, Bruenhilde, Venus, Elizabeth and Marguerite. I paid my first return visit to Europe in 1891, when I made a starring tour, appearing in Mannheim, Wiesbaden, Bremen and Prague. I was at that time offered an engagement in Vienna, and I should have accepted it had it not been for my previous contract with Mr. Hammerstein, which compelled me to return here for the opening of the Manhattan Opera House. That season did not last long, and in the spring of 1893 I went over to Vienna to take the place of Materna at the Imperial Opera House."
47Mme. von Januschowsky made a great reputation for herself in Vienna, not only for her ability as a singer, but for her wonderful—at least, it seemed wonderful to her fellows there—capacity for work.
49"During my two seasons," she said, "I never missed a performance, and I was always ready to supply the place of anyone who was ill. They could never understand how I could do it, but then they had never sung in the Juch Opera Company."
51As to her favorite rôles, Mme. von Januschowsky told me they are Isolde and Fidelio—New York Herald.
53A Wager Decided.
55"MACY" writes asking if Emma Eames is a soprano or a contralto. We do not believe in betting, but candor compels us to declare that Mme. Eames is not a contralto. She is a soprano, a dramatic soprano, and some day she may sing Isolde and astonish us and astonish herself. So let your money change hands, "Macy."
57Mr. Deutsch Exonerated.—It is with genuine pleasure that we reproduce the following from the Evening Post of December 19, for we always considered Mr. Deutsch innocent, knowing that he is an honest man:
59The seizure of a lot of valuable old violins from Siegmund Deutsch, a violin teacher of this city, on the arrival of the steamship Fuerst Bismarck on September 13 last, for a failure to declare them as dutiable, will be remembered as the subject of some comment at the time. After an official investigation the Secretary of the Treasury ordered that the violins be restored to Mr. Deutsch, it having satisfactorily appeared at a hearing held before Collector Kilbreth, who took the proofs in the case, that there had been no attempt at concealment and that there was manifestly no intention to violate the United States customs laws. Mr. Deutsch, who was represented by Albert E. Henschel, got his violins upon payment of the regular duty, without any penalty, and stands fully exonerated.
61Frissell in Vienna.—Emmeline Potter Frissell, the pianist, has taken up her residence in Vienna, and is studying with Leschetizky. Mrs. Frissell has been highly complimented by the maestro, and has received much praise for her playing.
63WANTED—Church organist and teacher of voice. An excellent opening exists in an attractive Southern city. For particulars address "Georgia," care of THE MUSICAL COURIER.
65TWO GENUINE OLD VIOLINS FOR SALE.—Mr. R. Schmelz wants to sell his two celebrated violins, one a Guarnerius and the other a Bergonzi. Please address 159 East Sixty-second street, New York.
67ALBERT GERARD-THIERS, TENOR.
68Oratorio, Concert, Vocal Instruction.
69STUDIO:
70603-4 CARNEGIE HALL, NEW YORK.
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