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Musical Courier 1897-05-12: Vol 34 Iss 897, 1897
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1prelude, nor its splendid virtuosity more brilliantly exemplified than in the Ride of the Valkyries. In fact, the sixteenth season closed, as was fitting it should, with a display of the powers of the orchestra at their very best. The achievements of conductor and players reflected the highest honor on both, and that the audience felt this was shown in the exceptionally hearty applause it bestowed on the performances through the whole concert.
3Mr. Paur, who was welcomed with an unusually cordial and prolonged reception on his first appearance, became at the close of the concert the central point in a demonstration which brought him forward some half dozen or more times amid furious hand-clapping and cries of "Bravo" and "Auf wiedersehen." There was a hearty spontaneity in it that left no doubt regarding its sincerity, and he could not but have felt gratified by this testimony in which he personally and the manner in which he has acquitted himself of his task at the head of the orchestra are held by the patrons of these concerts.
5Mrs. Jacoby in Cincinnati.
7At the Orpheus concert in Cincinnati on May 6, given at the Odeon, under the direction of Mr. Carl Graniger, a large audience filled every nook and corner of the large hall. The soloist was Mrs. Josephine S. Jacoby, of this city, and her success was decisive and unquestionable. The local papers speak as follows:
9Mrs. Jacoby rendered a number of selections, receiving a recall after each of her two numbers in the first and second parts of the program respectively. Her first appearance was in the aria from Samson and Delilah, My Heart at Thy Sweet Voice. As an encore to this Mrs. Jacoby sang Thy Beaming Eyes, by MacDowell. Her first number in the second part of the program was Bartlett's Dream. Her next number was an interpolation. As an encore she sang Clayton Johns' Where Blooms the Rose. Mrs. Jacoby's voice, a powerful contralto, evidences careful training and possesses considerable vigor in more dramatic passages.—Cincinnati Commercial-Tribune, May 7, 1897.
11Mrs. Jacoby left the impression of having a remarkable contralto—full, rich and of musical quality.—Cincinnati Enquirer, May 7, 1897.
13Mrs. Jacoby, of New York, received an ovation in her songs.—Times-Star, May 7, 1897.
15Another Von der Heide Musicale.—At Mr. Von der Heide's latest studio musicale the program embraced compositions by Reinecke, Mendelssohn, Buck, MacDowell, Shelley, Colyn, Hall, King, Saint-Saëns, Chopin, Chaminade, Gabriel-Marie, d'Harleldot and Tschaikowsky. In the part songs incidental solos were sung by Miss Gaylord and Miss Kalisher. The soloists of the morning were the Misses Beulah V. Gaylord, Mamie J. Metcalfe, Lulu Ruprecht (pianist), and Mr. Von der Heide. Among the guests were Mrs. Stanley Hancock, a noted English oratorio singer, and the Baroness Léota S. von Kieffer, who delighted the audience by her singing of Sans Toi at the request of the host. one of two readings
16Another Von der Heide Musicale.—At Mr. Von der Heide's latest studio musicale the program embraced compositions by Reinecke, Mendelssohn, Buck, MacDowell, Shelley, Colyn, Hall, King, Saint-Saëns, Chopin, Chaminade, Gabriel-Marie, d'Harleot and Tschaikowsky. In the part songs incidental solos were sung by Miss Gaylord and Miss Kalisher. The soloists of the morning were the Misses Beulah V. Gaylord, Mamie J. Metcalfe, Lulu Ruprecht (pianist), and Mr. Von der Heide. Among the guests were Mrs. Stanley Hancock, a noted English oratorio singer, and the Baroness Léota S. von Kieffer, who delighted the audience by her singing of Sans Toi at the request of the host. one of two readings
18Mr. Von der Heide on this occasion sang with much of his old-time abandon and expression, and above all his phrasing and diction are at all times musically and perfect. He also contributed a violin solo.
20Miss Eleanor Foster, the accompanist, did her work in a very efficient manner.
22THE GOOD WORK PROGRESSES.
24A CALVE ANALYSIS.
25(Springfield Republican.)
27The features of the second day of the music festival were the "ovation" given to Mme. Calvé and the fine singing of Barron Berthald in the evening, and the exceptionally good performance of Schumann's piano concerto by Miss Adele Aus der Ohe in the afternoon. The afternoon attendance was quite as good as is to be expected for matinées, while the audience in the evening, though large, was not the surging mass of humanity packed into every corner at $8 a seat, and fringed along the walls at $1.50 a square foot, which the fond imagination of the managers had seen.
29The truth is that Springfield is not a $8 town, and the people who might have been counted upon to buy the $8 tickets had been sagacious enough to get better places and more concerts for their money by buying season tickets. Hence the phenomenal early sale, and hence, too, the sudden falling off in the demand for Calvé tickets. To this there must be added the growing feeling that no singer is worth the money. Three dollars is a large price to pay even for grand opera, the most expensive of artistic luxuries. It is an absurd sum to pay for the privilege of hearing a soprano warble a song and sing a fragmentary bit of opera. It must be said that it is an encouraging symptom of popular taste that the advance sales for Elijah to-night were much larger than for the show concert. It may be that the time is coming when the prima donna will not be absolute.
31There is no need of disparaging Mme. Calvé. Everyone knows that she is one of the greatest dramatic sopranos living; that she has no equal in Carmen, and no superior in several other rôles. But when she leaves her proper field and makes a bid for rural applause with an imperfectly rehearsed performance of a bird song, she becomes mediocre. She should leave that sort of thing to Mary Howe. Her high tones are not beautiful, except when carried up with dramatic intensity, and lack the crystalline clearness which is the very essence of a vocal feat like the David Charmant Oiseau. There are many sopranos who can blend their voices more perfectly with the flute. Many of the chords were not even in tune, to say nothing of the discrepancy in tone color. In short, this was clap-trap, and not very successful clap-trap. She was meant for better things, and this is not at all her métier.
33On the other hand, the mad scene from Thomas' Hamlet gives full scope to her dramatic fervor, and yet lost four-fifths of its effect from being detached from its context and its appropriate costume and action. The very difficulty which the artist found in expressing herself without action emphasized the lack. Opera is opera, and concert is concert, and if a concert singer takes a fragment from an operatic work she must depend upon her singing for effect and not on her powers as an actress. Mme. Calvé has been in the habit of singing this scene in costume, but it was deemed inexpedient here. It was quite as well. A scrap of opera, minus the setting, is not in keeping with the dignity of a music festival, and it is at the best a most unsatisfactory substitute for the real thing.
35Madame Calvé is a great actress. There must be a touch of the comedian in her, to judge from the way in which she is staring the provinces, making up by facial expression and little speeches in French for the crudities of her vocal performance. In Paris she would rehearse most diligently for a night of opera, and receive perhaps $200. In Springfield, Mass., she sings one virtuoso piece, for which she is unfit, and one operatic scrap, does not deign to rehearse with the orchestra, and asks $2,800. No wonder that foreign singers consider America an easy mark. One could discern even amid the roughness and uncertainty of the performance that she is a great singer, but the performance itself was exasperating. She kept bad time, her intonation was not true, and there were several inexcusable breaks for which the conductor was certainly not to blame. In short, her singing was the only really ragged work that has been heard at the festival.
37However, there were many in the audience who were quite content at having seen and heard Calvé, and were overjoyed at an occasional exhibition of the malt extract Carmen expression which they had seen so often in the advertisements, and raised great blisters on their hands in their frantic applause. The prima donna promenaded back and forth, talked volubly in French, and finally said "Au revoir," but not "Good-bye," being unable to speak English. For an encore to the Charmant Oiseau she sang a French peasant song unaccompanied. She had the full share of adulation which beauty and fame insure to a singer, but it is not likely that she will appear at another festival. It was a sad waste of money that might have been spent to better advantage.
39[After a while we shall find the musical intelligence of America united in the great MUSICAL COURIER campaign against foreign fraud and pretense. Men who wish to make a career in this country will also get tired of investing their time in advancing the interests of singers who charge ten and twenty times as much for singing in America than they charge in Europe.
41Besides all this, the whole project of music laid out on the foreign propaganda destroys our American musical life, and must therefore be banished, and we predict Anno 1897 that it will be banished. This paper has the force of public opinion behind it, and fortified in that manner its campaign against the foreign invasion is irresistible.]
43FRANZ BELLINGER,
44Baritone.
45Vocal Instruction, Concert, Oratorio, Opera.
46Lamperti-Milan Method. Mending of cracks—style.
47Studio, 1710 Chestnut St., Philadelphia.
49MADAME MORIANI,
50Private Academy for Voice Training
51AND SCHOOL FOR OPERA.
52Voice Production, Voice Mending,
53and the Aesthetics of Singing Taught.
54Teaching in Five Different Languages.
55All the Repertoires, Classic and Modern.
56The Art of Acting taught by M. VERMANDELE.
5717 Rue de Treves, BRUSSELS, BELGIUM.
59CONCERT DIRECTION
60(Agency Founded 1879.)
61HERMANN WOLFF.
62Germany: Berlin am Carlsbad 19.
63Cable Address: Musikwolff, Berlin.
65Proprietor and Manager of the Philharmonic Concerts, Berlin; the new Subscription Concerts, Hamburg; the Bechstein Hall, Berlin.
67Sole representative of most of the leading artists, viz.: Joachim, d'Albert, Stavenhagen, Mme. Carreño, Mlle. Kleebeger, Mlle. Marcella Sembrich, Emil Goetze, the Berlin Philharmonic Orchestra. Manager of the American tours of Josef Hofmann, Eugen d'Albert and Pablo de Sarasate.
68Principal Agency for Music Teachers.
69Apply for Catalogues.
71M. PANZANI,
72Late instructor at the Institut Musicale in Florence and College Militaire, Chef d'Orchestre and Assistant Instructor under the Marchesi. one of two readings
73Late instructor at the Institut Musicale in Florence and College Militaire, Chef d'Orchestre and Assistant Instructor under Mme. Marchesi. one of two readings
74NOW ESTABLISHED IN LONDON.
75Pupils received in singing and singers prepared for opera or concert. Address
765 Templeton Place, Earl's Court, S. W., or one of two readings
77care of THE MUSICAL COURIER, one of two readings
785 Templeton Place, Earl's Court, S. W., or care of THE MUSICAL COURIER, one of two readings
7921 Princes Street, London.
81ELSA VON YETTE'S VOCAL SCHOOL.
82Open all the year. From beginning to stage finish. Vocal: regular course, three years, pure Italian method. Piano: regular course, four years, Weick touch. Class and Private Lessons. Apply to the Director, ELSA VON YETTE, Concert Soprano, Windermere, 400 West 57th St., New York.
84MISS RAGNHILD RING
85(Pupil of Edward Grieg).
86Concert Pianist—Accompanist.
87Pupils accepted.
88Brooklyn: 223 54th St.; 589 Fulton St.
89New York: THE MUSICAL COURIER.
91ARTHUR VOORHIS,
92Concert Pianist—Instruction.
93104 Clifton Place, Jersey City, N. J.
94Chickering Hall, New York.
96MISS BELLA TOMLINS,
97R. A. M., London, England.
98CONTRALTO.
99CONCERT, ORATORIO, MUSICALES.
100VOCAL INSTRUCTION.
10191 Sixth Avenue, Brooklyn, N. Y.,
102or care of THE MUSICAL COURIER, New York.
104WILLIAM R. WILLIAMS,
105Tenor.
106Concert, Oratorio, Musicales. Voice Development.
1076 East 17th Street, New York.
109FERDINAND DUNKLEY,
110Piano, Organ, Harmony and Composition.
111Lecture Recitals,
112St. Agnes' School, Albany, N. Y.
114HENRY K. HADLEY,
115Composer—Violinist.
116Instruction, Theory of Music.
117Musical Director St. Paul's School,
118Garden City, L. I.
120MR. CHARLES ABERCROMBIE,
121Ten years Solo Tenor to Her Majesty the Queen, and of the Albert Hall, Crystal Palace, St. James' Hall, and other indoor and outdoor concerts and Professor of Artistic Singing, London, England.
122Vocal Studio, Carnegie Music Hall, New York.
124MME. VON FEILITZSCH,
125Vocal Instruction,
126119 West 41st St., New York.
128J. JEROME HAYES,
129Vocal Instruction.
130Studio: Knickerbocker Building.
1311402 Broadway, New York.
132(Tenor soloist for three years at the Church of the Divine Paternity, Fifth Avenue and 46th Street.)
134ARNOLD KUTNER,
135Tenor.
136Oratorio, Concert and Voice Culture.
137Pupil of Professor Julius Hey, Berlin (teacher of Klasfky, Oltizka, Kutschera, Dippel and other great artists).
13886 Fifth Avenue, New York.
140HENRY TAYLOR STAATS,
141Piano Instruction.
142Free classes in Harmony and Sight Reading.
143Two pianos, eight hands. Circular mailed on application.
144Studio: 487 Fifth Avenue, New York City.
146KATE PERCY DOUGLAS,
147Soprano.
148Concert, Church, Oratorio. Vocal Instruction.
149157 East 46th Street, New York.
151RICCARDO RICCI,
152Opera, Oratorio, Concert—Instruction.
153Studio: 49 West 35th Street,
154New York City.
156SAMUEL MOYLE,
157Basso Cantante.
158Oratorio, Concert, Musicales. Vocal Culture—Italian Method. Tone placing and reparation a specialty. Studio: 136 Fifth Avenue, New York.
160HE BERTA GROSSE-THOMAS ON SCHOOL FOR PIANO,
161Studios, Brooklyn.
162300 Fulton Street—Tuesday and Friday.
16361 Tompkins Place—Wednesday and Saturday.
164Mme. Berta Grosse-Thomasson was educated by and was preparatory teacher for Franz Kullak.
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