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Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
100 lines. Read by computer on 23 September 2026. Printed page 43. See the scan on archive.org.
1SEMBRICH AND GRAU.
3ONE year of a hiatus from opera in this town was all that was necessary to illustrate practically that Mr. Grau's oft repeated statements regarding the quality of his operatic stars was not based upon truth, for Marcella Sembrich, in her art, proves that Mr. Grau was not telling the truth when he so frequently asserted that his opera company consisted of the best singers in Europe. Sembrich is greater than any artist he had in his troupe.
5Mr. Grau does not intentionally deviate from the truth; it is merely his ignorance of the situation, and he does the best he can. In one of the Sunday interviews he says that he has listened to a large number of operas in Germany and elsewhere, but that none were fit for us here. Our weekly European budget tells an entirely different story. No opera will ever be staged by Grau that does not first meet the approval of Jean de Reszké, and if he has not studied it it will not be staged unless it be one of the smaller operas, in which he does not appear at all. No one need deprecate in de Reszké this business ability. It is merely hypocrisy to deny the existence of such conditions. Hence Grau's opinion, even if he had a musical opinion, is nil.
7The appearance of Sembrich here constituted with many a genuine revelation, for under the Grau-Reszké system our people had gradually reached the conclusion that we were getting the pick of European vocal perfection, whereas one of the greatest singers was never even alluded to by Grau. The fact is, she would have eclipsed Reszké, and as a good business man he would not tolerate her in the company.
9No, Mr. Grau's opera company was always mediocre and the performances were the same. Opera is ensemble and we can have no ensemble under the star system, and then when the star system is erected upon stars of the third and fourth magnitude the results are musically hideous.
11As this paper has so frequently asserted, none of Grau's personnel appears on Continental opera stages, except the de Reszkés, who sing a few nights a year in Russia, their home. The aggregation he brings here is a cheap one, artificially advanced into a superficial rank by newspaper puffery, and therefore overpaid to such an exaggerated degree as to make the system a crime, now known throughout this country through the efforts of this paper as the high salary crime.
13We predict again, without the least hesitation, that the system which Grau, Damrosch and Ellis are seeking to perpetuate in this land is doomed, and its results will be, as they have been in the past, melancholy and disgraceful bankruptcy. The American people will not hereafter pay $1,000 to hear a singer who is glad to do the same work in Europe for $100. No, that speculation is a dead letter.
15Dante del Papa.—Dante del Papa has just arrived from Richmond, where he has been singing in a series of operatic performances with pronounced success. Mr. Del Papa has been engaged for the concert of the Jeanne Franko Trio in Brooklyn, and will sing with the same organization at their concert in Chickering Hall on November 23. From some recent press notices the following are quoted:
17Del Papa, the little Italian tenor, surprised all as Elvino. He literally stood upon his native heath, and sang the part for all he was worth. He was earnest, dramatically effective, and was frequently applauded.—Richmond Dispatch.
19The tenor Del Papa made a decided hit with his audience. He sang and acted Elvino in a spirited way that captivated all.—The State, Richmond
21Chevalier Dante del Papa was much at ease as Elvino.—The Times, Richmond
23He sang his part with fine effect, and it could easily be seen that he is a capable actor as well as a finished vocalist. Personally, he is a charming man; he has traveled extensively, and he is intimately acquainted with some of the world's greatest musicians. He has many of their autographs in a dainty album which was given to him some years ago in Rome by Mme. Emma Nevada Palmer.
25Elvino, the character in which Del Papa appears to-night, is one of his favorites, and one in which he has made possible his greatest success.—Richmond Dispatch, October 28, 1897.
27Gedeone Olivieri Dead.
29Gedeone Olivieri, a singing teacher of international reputation, died at his home in Dorchester, Mass., on Monday morning. He was born in Ancona, Italy, forty-six years ago, and, after receiving a thorough musical education, took up teaching, moving about from place to place on the Continent. While in Paris he coached many well-known singers for opera.
31A few years ago he went to Boston at the solicitation of Mr. Charles Atkinson, as teacher for Mrs. Atkinson (Lilian Durell), whose remarkable voice promised a great future for the young singer, but who, unfortunately, died soon after Olivieri arrived in Boston.
33Signor Olivieri enjoyed a warm, personal friendship with a large number of the great musical artists of the day, and his studio was filled with their pictures and tokens of the esteem in which they held him.
35He had a great success as private teacher in Boston, his pupils coming from all parts of the country to coach with him. His friends were strong champions of his skill, while his detractors always acknowledged the genius of the man in his especial line.
37He was not thoroughly satisfied with his life in Boston, and often spoke of moving to a larger city where his talents would be appreciated by a larger circle of people.
39Max Karger.—Arrangements have just been completed for the American début of Max Karger, the talented violinist. At the next Sembrich concert, in the Metropolitan Opera House, Mr. Karger will be heard, and will doubtless be accorded a hearty welcome.
41Mr. Karger has been engaged at the suggestion of Signor Bevingnani, who is greatly in favor of supporting American talent. Mr. Karger has recently been heard in Toronto, where he met with enormous success. The following are some of his notices:
43Mr. Max Karger was the outside artist from New York. He is a violinist of the first order. The andante and finale from Vieuxtemps' Fourth Concerto were given a remarkably fine presentation, and "Annie Laurie," with variations, played as an encore, evoked great enthusiasm. His second number was fully as perfect, and showed Mr. Karger to be a complete master in bowing and fingering, as well as all others details.—The Toronto World.
45Mr. Max Karger, the young and able violinist, was most successful in the rendering of selections from Chopin and Wieniawski, and no refusal of encore would be taken—surely a high compliment from an audience which expected to hear nothing but Scotch airs.—Mail and Empire, Toronto.
47Mr. Max Karger proved himself a consummate master of the violin.—The Globe, Toronto.
49Hans Kronold.—The well-known 'cellist, Hans Kronold, filled an engagement in Bridgeport on Thursday, October 28, and added another to his long list of successes. Mr. Kronold will, in a short time, bring out two new compositions (both of which are dedicated to him), one a Berceuse by Max Liebling, and the other a Romance by Marcus Caroll. The latter number was sent to Mr. Kronold by the composer as a mark of appreciation of Mr. Kronold's artistic work at the Maine Festival. It is written for the violoncello, with string orchestra accompaniment.
51The two following notices refer to Mr. Kronold's recent appearance in Bridgeport:
53Hans Kronold is unsurpassed as a 'cellist, and his rendition of the grand fantaisie "Le Desir," by Servais, was a finished and highly artistic performance.—Bridgeport Morning Union.
55Hans Kronold, the violoncellist, has a most beautiful touch; his playing delighted all. His rendering of the grand fantaisie "Le Desir," by Servais, was certainly to be very much admired.—Bridgeport Morning Telegram.
57NOTICE.
59This issue of THE COURIER will reach our readers twenty-four hours later than usual on account of Election Day falling on Tuesday, one of our principal press days.
61The Dannreuther Sonata Recitals.—The sonata recitals by Mr. and Mrs. Gustav Dannreuther will not be given in the Fine Arts Building, as previously announced, on account of a confliction of dates, but are now announced to take place at 46 West Thirty-seventh street, on Thursday, December 2; Wednesday, December 15; Thursday, January 6, 1898, and Wednesday, January 19, 1898.
63Maurice Grau.—Mr. Grau is here in the city for a few weeks, looking after the affairs of his company.
65The Journal, of Monday, printed the following:
67The assignee of Abbey, Schoeffel & Grau sold at auction at No. 111 Broadway, through Adrian H. Muller & Son, three lots of claims and judgments, five claims to a lot and ranging from $15 to $1,138.72 each. They sold at 50 cents a lot to a buyer whose name the auctioneers did not announce. Among the claims was one for $225 against Henry E. Hoyt, one for $1,304.25 against the Royal Arcanum Hospital Benefit Association, and one for $200 against Leander Richardson.
69Astoria Concerts.—To-morrow (Thursday) evening the first of the Seidl concerts at the Astoria Hotel will bring together the fashionable people who have already returned to town. An innovation in regard to the arrangement of seats promises to give the affair more the appearance of a private musicale than of a subscription concert. There will be no reserved seats and the chairs will be movable, thus allowing each one to talk to his own particular friends—a privilege that no doubt will be taken advantage of to the fullest extent by the many who go to such concerts to be seen rather than to hear. Madame Sembrich will be the soloist to-morrow evening.
71George W. Fergusson.—Here are some more abbreviated criticisms on Mr. Fergusson's continued success with the Carl Rosa Opera Company. Mr. Fergusson returns to America for an extensive concert and recital tour under the direction of Manager Thrane, which will begin about February 15, 1898:
73Mr. Fergusson did himself credit as Mercutio, although, of course, Mercutio in the opera is but a shadow of the Shakesperian character.—Era, London, England.
75She (Mlle. Oltizka as Ortrud) was well supported by Mr. Fergusson as Telramund. His voice is not of great volume, but is controlled with skill and intelligence, and in the scene where Telramund addresses the king Mr. Fergusson displayed merits worthy of hearty commendation.—London Era.
77By his spirited performance of Mercutio Mr. George Fergusson redeemed the tameness of his Escamillo the night before, and we have seldom heard a better or more intelligent rendering of the difficult and often mangled "Queen Mab" ditty.—The Stage.
79* * * and Mr. Fergusson as Telramund, the last named artist having already made creditable appearances as Valentine, Escamillo and Mercutio.—Black and White.
81It was admitted by all hands that the honors of the evening were borne by Miss Heenan and Mr. Geo. W. Fergusson (Wulfram). This gentleman's performance was marked throughout by culture and dramatic force, and his baritone voice is one of exquisite tone. Mr. Fergusson is certain of a warm welcome in December, when he comes to Sheffield to fill an engagement at the Harrison concert.—The Independent, Sheffield, England.
83Mr. G. W. Fergusson sang Wulfram's music in a masterly style. His voice is of a beautiful quality, and he is quite one of the most valuable members of the company.—The Sheffield Telegraph.
85Ellison Van Hoose in Montreal.—The appended notices of the well-known tenor Ellison Van Hoose will give some idea of the success he has had during his recent engagements in Canada.
87Mr. Van Hoose, the tenor, is possessed of a voice of great purity and much power, and his rendering of the aria from "Carmen" was marked with great dramatic force.—The Gazette, Montreal.
89Herr Van Hoose, the tenor, possesses a voice of exquisite tone, but it is a question if his best effort was not "Il fior che averi." But it is a question if his best effort was not "Il fior che averi." Many in the audience were disappointed at his change of his last item. It would doubtless have been quite a treat to hear him sing "Mary of Argyle."—Morning Chronicle.
91Mr. Van Hoose created a good impression with an aria from "Carmen," although suffering somewhat from a cold.. Later Mr. Van Hoose was happier in "A Dream," by J. C. Bartlett, than in his interpretation of "Mary of Argyle."—Montreal Daily Star.
93Mr. Van Hoose has a full, rich tenor, which he uses well; his rendering of the air from "Carmen," "Il fior che averi," was spirited and dramatic.—Montreal Herald.
95Mr. Van Hoose, a new tenor from New York, who has just appeared on the musical horizon, delighted the audience with a voice of clear silver tone and very peculiar yet pleasing register.—Hamilton Times.
97Mr. Van Hoose is a young tenor whose voice and method are alike worthy of high praise.—Hamilton Herald.
99The tenor, Mr. Van Hoose, has a sympathetic voice and finished style. His voice showed to greatest advantage in the song "A Dream" (J. C. Bartlett) and "Mary of Argyle," which were given with much feeling.—Montreal Daily Witness.
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