Scan 14
Musical Courier 1896-07-15: Vol 33 Iss 854, 1896
56 lines. Read by computer on 23 September 2026. Printed page 15. See the scan on archive.org.
1confidence into the depths of the inner actions of the soul, and from this innermost centre of the world fearlessly created its outward form. In weaving the words and versification of this work the whole expanse of the melody was already sketched, that is to say, it was already poetically constructed; and when this is the case there must be a much closer union of poem and music than in my earlier experience (as, for example in my conception of the Flying Dutchman), and the melody and its form will prove much richer and more inexhaustible than one can have any idea of who has not experienced this.'
3So wrote Wagner in the autumn of 1860 to Fr. Villot in Paris, and these words may explain to many who witnessed the performance on the 26th ult. at Covent Garden why this music seems to stand by itself on a pinnacle of superlative greatness. The presentation of the masterpiece on this occasion had excited much interest, for the brothers de Reszke and Mme. Albani were to sing the principal parts in the original German for the first time in England. However much anticipation had forestalled their efforts, it was more than realized. It may be advanced that every actress is at her best when she is being made love to; and when the lover is an ideal exponent of his part, that best is likely to be very good indeed. Hence, perhaps, it was that Mme. Albani has seldom been heard to greater advantage than on this occasion. M. Jean de Reszke's impersonation of Tristan was, above all, intensely human, and it is therefore not surprising that so sympathetic a temperament as that of this prima donna should be excited to strenuous efforts. The rendering of the great love duet was superb, and one wished the meddlesome Melot as far away as doubtless did the lovers in olden days. No less impressive was Mme. Albani's singing and acting in the last act, and Isolde's expiring glance at Tristan and the fall backward with arms outstretched were inspirations born of the fervency of the moment. The most noticeable feature of M. Jean de Reszke's impersonation of Tristan was the consummate art with which the text was declaimed. There was no ranting or undue forcing of the voice, but every word came to you mated with exquisite beauty of tone and the utmost depth of expression. It was indeed glorified speech. Those who heard it will assuredly never say that Wagner's music is unvocal. Unconventional it is, but unsinging in the fullest sense it is not. Mr. Edouard de Reszke looked "every inch a king," and the inches were many. This personage has a good deal to say to the young people, and sometimes one is inclined to wish it were less voluminously expressed, but the dignity and deep feeling imparted to his words by Mr. Edouard de Reszke prevented any sensation of tediousness, and the magnificent sonority of the artist's voice gave remarkable impressiveness to his utterances. Mr. David Bispham's impersonation of the faithful Kurwenal (albeit he is a bad nurse to leave his patient while in the height of delirium) has long been accepted as unsurpassable, and it was as complete and effective as usual. The sympathetic part of Brangane was intelligently sustained by Miss Meisslinger, and Melot, the Steersman and the Shepherd were respectively personated in a capable manner by Signor Piroia, Mr. Edwin Wareham and Signor de Vaschetti. The chorus apparently thought that a few imperfections would increase the realistic effect of the sailors' singing, but too great praise can scarcely be given to the orchestra for the masterly way in which the important and intricate instrumental portion of the work was interpreted. Signor Mancinelli's great abilities as a conductor have never been more conspicuously shown. Only those who have some acquaintance with the score can have a conception of the herculean task set before the director, a task that indeed none but those who combine long years of experience with the possession of special natural gifts can hope to accomplish satisfactorily. It is scarcely necessary to say that such a performance elicited the liveliest manifestations of appreciation from a house crowded in every part, and that those to whom the excellence of the rendering was chiefly due received at the close an ovation. Nor was the impresario forgotten, to whose energy and talent were due so complete a presentation of the great music-drama. Many were the words of appreciation heard in the lobbies, and much regret expressed that he was not there to witness so brilliant a result of his labors.
5Boito's Mefistofele, performed on Wednesday, is always welcome to musicians. The fine choral writing in the prologue, the boldness of conception in the Walpurgis scene, and the lyrical beauty of the garden scene, Margherita death scene, and the classical Sabbath, combined with the masterly and picturesque orchestral portion, all go to make the work peculiarly attractive to students of opera. Miss Macintyre may be said to be heard and seen at her best in this work. Her embodiments of Margherita and Elena are remarkable for histrionic power and charming presence. Vocally, also, Miss Macintyre attained a high level of the art, and there was good cause for the enthusiasm which her singing several times evoked. She was admirably supported by Signor Cremonini, who, as Faust, once again showed his great dramatic perception. This was specially noticeable in the epilogue, in which his assumption of the old and wearied Faust contained a touch of genuine pathos. The parts of Marta and Pantalis presented no difficulties to Mme. Mantelli, by whom they were effectively sustained. A feature of the evening was the impersonation of Mefistofele, by Mr. Edouard de Reszke, whom nature has peculiarly endowed for the part—I mean, of course, merely with regard to voice and figure. Clad in black, with lurid gleams of scarlet flashing from various parts of his dress, with a vocal organ that seemed capable of defying the whole strength of the orchestra, and with a king-like dignity of bearing, M. de Reszke presented an embodiment of Satanic power not easily forgotten. It was magnificent. The orchestra, under Signor Mancinelli, did full justice to the clever and unconventional score, and, as a whole, the interpretation of the work reflected great credit on the management.
7FRANK V. ATWATER.
9From Madam Ashforth.—Mr. and Madam Ashforth sailed for Europe some weeks ago and are sojourning in Bad-Nauheim, Germany. Madam Ashforth, while in Frankfort, met Professor Stockhausen, who, we are sorry to hear, has just had an operation performed for a cataract on both eyes, one eye only being successful.
11Miss Behnne, pupil of Madam Ashforth, is spending her vacation in New York, and returns to Breslau, where she is a great favorite at the opera.
13Charles Kaiser, tenor of the Cathedral, has been engaged at the opera in Breslau.
15Ricordi and Neumann.—With regard to the reports of a projected Italian tour of Neumann with Wagner works, it is now stated that Angelo Neumann has not in any way attempted to infringe on Ricordi's performing rights on Wagner's works, and that therefore Ricordi had no occasion to protest.
17Verdi.—The work on which Verdi is engaged is The Tempest, a Shakespearian piece he has long been desirous of setting to music. Boito has furnished the libretto, and the opera will be finished this year.
19Pecksa1.—The young violinist Louis Pecksa1 was lately run in by a London policeman on the charge of being a female pickpocket in disguise. The virtuoso was locked up for four hours till Daniel Mayer rescued him.
21Budapest.—A new one act operetta, Matthias Corvinus, by Charles Frozler, will be given at the Theatre Royal, Budapest, at the commencement of next season.
23Mascagni.—Letters from Pesaro state that Mascagni is at last working on a new opera. The libretto is by Targioni, and treats of a highly dramatic Japanese subject.
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42Who has sung with great success in the United States, France, Germany, England and America, is coming to America for an extensive Concert Tour.
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