Scan 5
Musical Courier 1898-05-18: Vol 36 Iss 950, 1898
76 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4Celebrated Vocal Studio,
5Suite 54 and 55, Kimball Hall,
6CHICAGO, ILL.
8MAX BENDIX,
9VIOLINIST. one of two readings
10VIOLINIST, one of two readings
11801 Steinway Hall,
12CHICAGO, ILL.
14Mme. JOHANNA HESS-BURR,
15Voice Coaching—Repertoire.
16FRANK S. HANNAH,
17Business Manager.
18Suite 1015-1016 Steinway Hall, Chicago.
20Mme. RAGNA LINNÉ,
21MARCHESI METHOD.
22Oratorio—Concert—Song Recital.
23Limited number of pupils accepted.
24Kimball Hall, Wabash Avenue,
25CHICAGO, ILL.
27HERMAN L. WALKER,
28Pupil of SHAKESPEARE and SBRIGLIA.
29TENOR.
30Concert, Oratorio, Song Recitals.
31Chicago Conservatory, Auditorium Building,
32CHICAGO, ILL.
34FRANK T. BAIRD,
35THE ART OF SINGING.
3634 Monroe Street,
37CHICAGO, ILL.
39Elodoro de Campi
40School of English and Italian Opera.
41Steinway Hall Building, Suite 908.
42CHICAGO, ILL.
44FREDERICK W. CARBERRY,
45TENOR.
46STEINWAY HALL,
47CHICAGO, ILL.
49SHERWOOD PIANO SCHOOL.
50WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago.
51Special inducements are offered to beginners who may be assured when commencing their studies here that they will never have to retrace their steps, but that their progress will be steady and certain. Mr. Sherwood's methods of technic, touch, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus.
52WALTON PERKINS, Secretary and Manager.
54From Paris.
55PARIS, May 3, 1888.
57SOME weeks seem marked by events in the circles of masculine artists, others again seem predestined to the movements among the stars feminine, as, for instance, the one closing over our heads.
59It opened with the colossal benefit offered to a woman artist afflicted by a woman artist in the full flush of triumph and success—a benefit surpassing in artistic and financial results those of any similar occasion. Then there was the reappearance of the divine "Sara," plucked from the jaws of death, so to speak, by the skill of modern chirurgy, playing a role showing a gay widow of forty being protected and guided by her grown-up married son through the intricacies of her well-ripened "love affairs." The gorgeous Calvé, in the midst of unabated success in "Sapho" at the Opéra Comique, was obliged to bid adieu to tearful and adoring audiences, in order to go win new triumphs and make new friends in the London season.
61Nevada, after several years' absence, made her reappearance in "Lakmé" at the Opéra Comique, where her first début was made in the "Pearl of Brazil." Her appearance in the role of the souple and caressing Brahmin priestess was naturally the source of lively souvenirs of the charming Marie Van Zandt, who created the touching role in so remarkable a fashion a few years ago. As if to accent the fact, though unconscious of it, Mlle. Van Zandt was on that very same evening being married to a Russian lawyer and musician in the strictest privacy in a modest "mairie" of the Eighth Arrondissement of the French capital.
63An evening or two distant the name of Sibyl Sanderson was on every lip as a result of the revival of "Thais" at the Grand Opéra. While the news was beginning to leak about that this most ravishing "Egyptian" was not at all afflicted by paralysis, but by a much more simple and natural malady, Mlle. Berthet was called to stand in comparison with her memorable predecessor, and to show how the conception of love for an apostle differed in the minds of the Parisienne and the Californian.
65Meantime the rehearsal personnel of the Opéra are looking on aghast at the strides made by Mlle. Delna, la gamine de l'Opéra Comique, toward assimilating herself to the exigencies of grand opera in the role of Fides. Can she do it? Will she do it? Will the pure musical instinct be sufficient to rule against nature, habits of manner, associations? Will the voice fulfill its expectations, the talent its record? Will the queen of lyric comedy bear regally the sceptre of grand tragedy? Will the abonnées be satisfied? What will the critics say? The "yeas" far outnumber the "nays" in the lively discussion which surrounds this period of incubation of the success or failure of this young and highly gifted artist. One feels like praying that the movement may be onward and upward to one whose career so far has been little short of the marvelous.
67In the same days the voluminous trunks of Emma Eames are already packed off over the channel awaiting the "Lohengrin" overture. Madame Nordica, with her husband, is passing a few days at the Hotel de Londres, putting finishing touches to toilettes, &c. Margaret Reid is packing her trunks at 11 Rue Mansart. Pretty Susie Adams is passing Italian roles with Mme. Calvo Picciotto previous to leaving, and the charming Maude Rodez is already established in her London quarters. Miss Marguerite Macintyre goes to the States instead of to London this summer, where she will sing (D. V.) at the Cincinnati Festival. Madame Duse has signed to play in Paris ten times this summer, the "Princess de Bagdad," "Lo Visite de Noces" and "Hedda Gabler" among the pieces; and a new theatric star has appeared in the Italian horizon, "La Diligenti."
69Mlle. Berthet, who is replacing Sibyl Sanderson as Thais, is a Belgian by birth, a first prize pupil of the Paris Conservatoire of M. Duvernoy, and made her début as Ophelia. A habitue of the Opéra, speaking of the two characterizations, says: "There is absolutely no comparison possible to be established in the case. Sibyl Sanderson, as Thais, was simple perfection. Nothing else can be said. Her effect on the audience was as she was—indescribable. I never again expect to see a role so filled." One of the personnel of the Opéra says: "She fairly shook us with 'frissons' at rehearsals. Her voice was electrifying and her acting more so. She was not playing Thais; she was Thais. She came on to rehearsal one day in a costume so exquisitely ethereal that it had to be suppressed for public appearance. She was fairly gummed into it. A more beautiful sight in female form I never saw, but it had to be suppressed."
71There is no danger, however, of Mlle. Berthet's being suppressed for playing havoc with emotions. Although the best of the troupe at present available for the role, she has not a tiger in her make-up, mental or physical. She gives an impression rather of hardness in her neat, sturdy little figure, in the hysterical inequalities of a voice without charm and in the lack of everything Oriental. She is Carmenly audacious rather than feline in the early passages, motonous in the last and never for a moment filled with the passionate ardors which make of Thais such a thrilling dramatization.
73The house is splendidly filled so far. Much interest is centred in the new ballet additions, which brighten the terrible sadness of the facts. The music of the ballet is most charming and the spectacle graceful and Frenchy. In addition to the ordinary coryphées and soloists, there is a mystical figure who from time to time half emerges from the cloud of blue flame which envelopes her, and sings some graceful mystical roulades in charming fashion. The figure is a Mlle. Mendez, a very well taught pupil of Dubullé. Another of his pupils, Mlle. Augussol, also figures as Crobyle. This new ballet movement occurs after second act as if to shade off from the old life into the new of the Alexandrian beauty.
75The music throughout is highly appreciated, and there is much enthusiasm. Massenet was present at the second representation, filling the coulisses with gaiety by his inimitable stories. Where does the man find all these stories? He seems to have a limitless supply, never tells
The computer misreads some letters and numbers. Where a name matters to you, read the scan.