Scan 37
Musical Courier 1898-01-05: Vol 36 Iss 931, 1898
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1were wet eyes in the audience when she had finished, an effect rarely produced by a piano performance.
3A d'Arona Pupil.
5Mrs. S. T. Carnes is the pupil of Mme. Florenza d'Arona who made such a success in grand opera, and lately in a concert tour through the South. The following are encouraging press notices:
7The Beethoven Club concert at the Woman's Council rooms last Friday attracted a large and appreciative audience. Mrs. S. T. Carnes was the evening's artist, and in the several numbers rendered established her claim as an accomplished and talented vocalist. Her pure and elastic soprano voice is very clear in quality and of wonderful range and timbre.—The Appeal Avalanche, Memphis, Tenn.
9Sunday Times-Figaro has watched the development of the beautiful voice encased in the charming physical casket alloted to Mrs. Carnes from childhood to girlhood, then to matronhood, and feels that she is deserving of a praise for her indomitable will power and energy far beyond ordinary. Hers was a personality, and a certain pride in achievement which spurred her on, and she has made for herself a name purely for the glory of victory.—Sunday Times-Figaro, Memphis, Tenn.
11Mrs. Carnes has few equals and no superiors in the Southern States—that section of the country which has given to fame more noted singers than any other in America. Her voice is rich and clear as a silver bell, and falls with lingering sweetness upon the willing ear; she has been an earnest and untiring student and has brought her precious gift from nature to a high state of cultivation. It has been her happy privilege to enjoy instruction from the most talented and most noted voice molder, Mme. Florenza d'Arona, of New York city.—Memphis, Tenn., Times.
13Maurice de Vries, Baritone and Teacher.
15The following articles published on Maurice de Vries illustrate fairly his value and standing in America as artist and teacher:
17Even so recently as a quarter of a century ago, it was necessary for any American student of vocal or instrumental music who wished to secure really first-class training, to make a journey to Europe to spend at least two or three years there. We had not in this country a conservatory of music worthy of the name, and but very few even fairly good individual teachers of music. Of late years, however, a new order of things has arisen, and we have now resident teachers of singing as well as conservatories of music the excellence of whose work cannot be surpassed in even the oldest German or Italian institutions, and connected therewith are some of the ablest and most brilliant of living teachers of music. Under such conditions it is not surprising that the cause of musical cultivation is now making more rapid headway than ever before, or that our young people are developing a degree of musical talent such as was formerly unknown on this side of the water.
19A notable item of recent intelligence in this connection is to the effect that Maurice de Vries, Chevalier des Ordres du Christ and Concessao of Portugal, first baritone Metropolitan Opera House, New York; La Scala, Milan; Cos- tanzi, Rome; Reggio, Turin; San Carlo, Lisbon; Liceo, Barcelona; Royal Monnaie, Brussels; Grand Theatres at Marseilles, Lyons, Bordeaux and Covent Garden, London, has just opened in Carnegie Hall a studio for vocal culture and training in lyrical declamation. Mr. de Vries is a son of the great prima donna Madame de Vries, of the Jenny Lind Opera Company, of forty years ago.
21He possesses the true fire for the love of his art, coupled with a magnetism which carries confidence to his pupil, and, as he rightly says, you must have a heart, a soul and intelligence in yourself, which are the factors to success. The master must lay the proper foundation for the edifice. "Why," said he, "I have traveled over the principal countries of the Old World, and with my experience must say that the Americans are equal, if not in advance, in the matter of voice, providing it is rightfully cultivated. If I were a millionaire," said he, "my pride and pleasure would be a philanthropic encouragement of my profession."
23He is undoubtedly one of the greatest of living baritones, and the fact that he has taken up his abode in New York is one of great importance in regard to the development of the musical capacity of our people.—Mercantile and Financial Times, October 16, 1897.
25Before the many subscribers to Mr. Bagby's musical mornings in the Waldorf-Astoria yesterday "The Violin Maker of Cremona" was sung in French by Mlle. Alice Verlet, as Giannina, and Maurice de Vries, as Phillippo.
27In the leading part of Phillippo Maurice de Vries was effective. The frequent encores attested to the popularity of this baritone, who comes from a family of singers. He was principal baritone in La Scala, Milan, in Covent Garden, London, and other prominent European theatres. His mother was Rosa de Vries the prima donna. His sister, Fides de Vries, was prima donna in the national opera in Paris. His younger sister was prima donna in the Opera Comique, Paris, where his brother is first baritone.—New York Press, December 21, 1897.
29Clementine De Vere.
31This delightful songstress and artist of finish, Clementine De Vere, adds daily to her record of success. Here are some recent notices:
33Great is De Vere.
34That delightful operatic and concert wonder was warmly welcomed, and the enthusiasm over her singing was almost without limit. She has a very striking stage presence with her dark auburn hair, arranged to frame a characteristic face set with blue eyes. She is magnetic as a singer, she long ago won esteem in this city, and last night she held it firmly by the skill, the taste, and the feeling that pervaded and gave a delightful interest to her rendering of her music. Her fervent and artistic singing of the aria from Verdi's "Traviata" gained her one of the most stormy encores of the evening, and the audience had to hear her again. For an encore she sang "The Last Rose of Summer" with the most delicious and delicate treatment. On her second appearance she sang "The Magic of the Spring," with a delicacy of expression that fairly made the audience shake the auditorium with applause at the end. * * * Madame De Vere's voice is a treasure house.—The Eagle, Pittsfield, Mass., December 17, 1897.
36Clementine De Vere-Sapio has gained vastly in ease, authority and finish since last she was here, and it is easy to see why she is so much in demand for high class work. She gives only pleasure. Her voice is strong and beautifully clear, and her technic is polished and eloquent. She has gained much in dramatic force, and where she once gave forth only sweet sounds, there are now life and meaning. Nevertheless, her voice and facile execution are still her most important vocal charms. She sang the "Freischutz" scene and prayer and a waltz song from Puccini's "La Bohème." She was encored after each, and in Gounod's serenade, "Sing, Smile, Slumber," she showed what she could do at artistic tone production in a comparatively simple air. It was very daintily sung.—Worcester Daily Spy, December 15, 1897.
38Madame De Vere sang very sweetly "Softly Sighing," and struck a responsive chord in the audience, and she was three times obliged to bow her acknowledgments, and sang again.—Worcester Daily Telegram.
40Madame De Vere sang even better than she has at her previous appearance here, and she was a favorite with the audience. She was called on for several encores besides her regular numbers, which were very daintily sung.—Worcester Evening Gazette.
42Mme. Clementine De Vere was the star of the evening, and sang Weber's "Softly Sighing," from "Die Freischütz," and the valse song from "La Bohème." Her voice is a fine example of method, training and power, true in tone and magnificent in quality.—Hartford Daily Courant, December 18, 1897.
44Very welcome was it to hear a "Freischütz" aria, and sung with such taste and expression as Madame De Vere imparted. It gave the spirit of the piece admirably. The treatment of the lyric parts was airy and poetic, that of the others full of sparkle.—Hartford Times, December 18, 1897.
46Mme. Clementine De Vere was in excellent voice, and sang Weber's "Softly Sighing," and the waltz song from "La Bohème" exquisitely.—Hartford Post.
48Rachel Hoffmann.
50Below are a few criticisms on the first appearance this season of the Belgian pianist Mlle. Hoffmann at the Metropolitan Opera House concert, December 26 last:
52Début of Mlle. Hoffmann.—The Pianist Shared with Ysaye the Plaudits of a Metropolitan Audience.—Mlle. Hoffmann, a pianist of some celebrity abroad, made her first appearance at the Metropolitan Opera House last night. She played Dupont's F minor concerto, and her execution of the beautiful and dreamy second movement was melodious work was fortunate. She was recalled, and added to the good will she had already won by playing a short composition, which many in the audience found quite astonishing. Her performance was musicianly and worthy of its success.—New York Journal, December 27, 1897.
54Mlle. Hoffmann has been heard here before. She came to New York from Brussels, and won a considerable measure of respect by her technical achievements and her exhibition of taste. Last night she labored under a great disadvantage in having misjudged the acoustic conditions provided by the vast audience room, which is in no wise adapted to piano performances. In consequence a great deal of her playing was drowned by the orchestra, but it was plain that she played her master Dupont's concerto in F minor with great intelligence and sound musicianly taste.—New York Tribune, December 27, 1897.
56The début of Mlle. Hoffmann at the Metropolitan Opera House has been for this eminent artist a true success. Mlle. Hoffmann possesses a magnificent technic and a delicate touch, together with a great deal of strength. She played artistically a concerto by Dupont, and as she was warmly recalled several times she responded with an encore.—Courier Des Etats Unis, December 27, 1897.
58A young pianist, Miss Hoffmann, showed excellent training, good taste and sufficient technical resources.—Commercial Advertiser, December 27, 1897.
60She displayed a facile technic and a good range of dynamics. Her encore number was one which enabled her to show her skill in the technical feat known as repetition.—New York Times, December 27, 1897.
62Mlle. Hoffmann's playing of the Dupont concerto was much enjoyed.—New York Herald, December, 27, 1897.
64Mlle. Hoffmann fulfilled all the requirements of the pianistic artist. Her encore number enabled her to exhibit her proficiency to a great extent in execution.—The Musical Age, December 27, 1897.
66Evan Williams with Boston Handel and Haydn.
68Here are some of the well won press notices obtained in Boston by the tenor Evan Williams for his admirable work with the Handel and Haydn Society:
70The feature of the evening was the superb singing of Mr. Williams. In beauty of tone, freedom of delivery, balancing of the phrase, dramatic feeling, musical and personal authority, and, above all, in self control, there is no tenor now on the oratorio stage to be named with him. A man that can triumph gloriously in "Behold and See," as well as "Thou Shalt Break Them"; who can sing the former with genuine pathos, steering clear of sentimentalism, and then deliver the imprecation with the righteous fury of a prophet, at the same time preparing gradually the audience for an irresistible climax, is a most welcome apparition in this period of vocal degeneration.—Boston Journal, December 20, 1897.
72Mr. Williams' voice is at once flexible, sweet, dramatic, of splendid range and more than ordinary volume. His art is all that a fine sense of balance and expression can make it. It is almost too much to believe that his utterance is distinct, but that is true.
74His first recitative and air were warmly applauded, and the first impression of merit deepened with his other numbers. It is worthy of note that he rendered the air "Behold and see if there be any sorrow like unto His sorrow" with more dramatic feeling than it commonly carries, and the innovation was not less than pleasing, and "Thou Shalt Break Them" was rendered with great expression, and the high note was of such surprising liquid sweetness and power that the audience burst into instant applause.—Boston Advertiser, December 20, 1897.
76Of the solo singers, H. Evan Williams shone bright by his admirable singing of "Thou Shalt Break Them;" it is years since we have heard this taxing air so well sung. So admirably did he sing it, indeed, that we cannot slur over the one, to his, objectionable point, his closing cadenza. With his high A we have no fault whatever to find; we should be very sorry to have his high A left out—or, rather, not put in. That penultimate G sharp ought to be short as possible, a mere passing note, not insisted upon. What we should like best would be to have the singer jump immediately from a short low G sharp—the one written by Handel—up a ninth to a high A, thus letting the high note come suddenly, like a pistol shot; if we mistake not, Sims Reeves used to do this, but of this we are not sure. It is difficult; but, then, what good thing is easy? Mr. Williams's singing of "Every Valley" was also fine, but less exceptionally so.—Boston Transcript, December 20, 1897.
78FRAU SELMA NICKLASS-KEMPNER,
79CONCERT SINGER.
80Professor of Singing at the Stern Conservatory. Formerly Vocal Teacher of Crown Princess Stephanie of Austria.
81VON DER HEYDSTR. 4, BERLIN, W.
83EMIL RHODE,
84PIANIST, ACCOMPANIST, COMPOSER.
85Instruction—Piano and Harmony.
86Studio, 107 East Eighty-fifth street, New York.
88FRANK E. WARD,
89Organist and Accompanist.
90For Concerts, Musicales and Receptions. Lessons in Piano and Organ Playing.
91121 East 77th Street, New York.
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