Scan 4
Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
51 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
1THE MUSICAL COURIER.
3VIENNA OFFICE THE MUSICAL COURIER.
4IV. Piasigasse 3 Thur. 24, May 24, 1888.
6SEMBRICH AND THE ITALIAN OPERA STAGIONE.
8SUCH performances as Sembrich has been giving us in the Carl Theater have not been seen or heard in Vienna for many a long day, and Vienna has been showing rather substantial appreciation of her worth. Boxes have been sold for 50 florins, single seats for 10 florins, &c., and the crowds at the theatre indicate something of what the box receipts must be, not to speak of the honor in which such a real artist and true woman is held here when she is once found, which is seldom.
10The one cry has been to engage her in the Court Opera, but as too little was offered Sembrich did not see fit or wise to accept, Sembrich's prices being New York prices, and the foreigners have paid it without a murmur and looked pleasant withal! But to turn from the financial side, the Donizetti celebration in Vienna, although a little late, was more honored than any prophet could expect, even when not in his own country. Hanslick recalls the time of the great singers of Donizetti's day, and later in Patti's prime, when the Viennese flocked in crowds to hear the Italian operatic companies, the day when "Lucia," "Don Pasquale," "The Daughter of the Regiment," "La Favorita" and others were heralded as the pearls of lyric song, and attracted the same audiences as to-day assemble to hear "Lohengrin," "Siegfried," "Tannhäuser" and "Tristan and Isolde," and he adds that the only singer of first rank to-day who could cause these scenes of long ago to repeat themselves is Marcella Sembrich.
12What remains to be said is what I have heard for myself, viz.: a voice that is perennial in its freshness, noble, limpid, clear and flowing in its cantilene, flawless in its colorature as an art, and alike flawless in its natural quality. Such terms as "voice producing" and "voice placing" seem in such a case superfluous and out of place, for Sembrich must have always had a voice and have learned to sing very like the birds do. Moreover, it seems more than probable that old age will have but little power in hushing such song. Sembrich will probably sing, and sing well, until she is seventy. Along with all this is that to which I referred in my last letter—a noble, strong personality such as few possess. I am aware that I am not telling Americans much that they do not already know of such a great artist, but it is a pleasure to dwell upon this side of Sembrich as an artist. Prof. Julius Epstein, I believe, had the honor to "discover" her voice, and I have heard from him what a strong, brave, courageous young girl she was while studying in Vienna, and she has to-day the singular distinction of being a woman without reproach in her artistic and private career.
14I feel it the greatest pleasure to pay such a tribute to her as a woman—and an artist. Here, young artists, is a personality to imitate, and without which you cannot expect to attain her achievements, for as a rule the greatest geniuses have always been the greatest men and the greatest women in their own personal lives, and it effectually puts to silence all those who contend that a great artist "must have experienced personal suffering" and all which that is intended to convey before she can give expression to the deepest emotions. Bah! The greatest tragedy and the greatest drama in life's tragedy was enacted by the Man who knew from experience nothing whatever of any contamination with the world in any particular. The test quality of dramatic passion, grandeur or nobility is strength. A weak man or woman already degraded can never attain in his or her own consciousness the strength to ascend the heights of great suffering or the grandeur of great passions or great sentiments, and his work as an artist will therefore always fall just short of the highest convincing force, for an inherent weakness in the character will certainly assert itself in all attempts at the greatest dramatic expression, more or less.
16Sembrich is also a fully developed artist. She plays the piano and violin, has mastered theory and composition and was once a pupil of Sophie Menter. She began her studies when a girl with Professor Epstein, who speaks of her as a "Wahre echte Künstlerin" (a true genuine artist), developed in all directions musically.
18"Lucia," "Rigoletto," "Traviata," "Barber of Seville," "Don Pasquale" and the "Daughter of the Regiment" were the operas chosen. "The Barber of Seville" was given three times, and was pronounced by all her "glanz Rolle." I prefer "Lucia" as best suited to her real "naturel" and to me personally the most convincing. She chose "Lucia" as the first performance in celebration of Donizetti's birthday anniversary, and it was later repeated.
20Between the roles of Norina in "Don Pasquale" and Rosina in "The Barber of Seville" it is difficult for me to choose a preference. She is certainly a most brilliant "Teufelin," as the Germans say, and what excited my wonder and admiration is the complete Protean power of metamorphosis she displays as Norina. Her personal beauty is dazzling, too, as she enters the scene previous to her departure for the theatre, dressed in a sensation toilet of rocco style with powdered hair, brilliant in jewels and head dress. True, the catlike treachery of Norina does not accord with the noble, womanly Lucia, but for that reason the metamorphosis excites the more our astonishment and admiration.
22The support as a whole was better in the "Barber of Seville," which altogether was an excellent cast, even the tenor, Gianni ("cravatil tenor" someone called him), passingly good, especially in the acting, and Coletti, baritone, as the popular barber, most brilliant, unless the role of the Doctor in "Don Pasquale" be excepted, where he surpassed himself. Travecchia as Doctor Bartolo or as Don Pasquale is alike irresistibly droll and comical. Arimondi, with his magnificent bass, possesses probably the best voice in the whole support, irreproachable in quality and vocalization, with a thundering resonance and aided by extraordinary dramatic expression. I laugh yet when I see him in my mind's eye as Basilio calling the exasperated company together for the twentieth time to say "Buono Sera! Buono Sera!" as he is hurled out of the door. one of two readings
23The support as a whole was better in the "Barber of Seville," which altogether was an excellent cast, even the tenor, Gianni ("cravatil tenor" someone called him), passingly good, especially in the acting, and Coletti, baritone, as the popular barber, most brilliant, unless the role of the Doctor in "Don Pasquale" be excepted, where he surpassed himself. Travecchia as Doctor Bartolo or as Don Pasquale is alike irresistibly droll and comical. Arimondi, with his magnificent bass, possesses probably the best voice in the whole support, irreproachable in quality and vocalization, with a thundering resonance and aided by extraordinary dramatic expression. I laugh yet when I see him in my mind's eye as Basilio calling the exasperated company together for the twentieth time to say "Buono Sera! buono Sera!" as he is hurled out of the door. one of two readings
25It was indeed a pity that Sembrich should have had so little an inspiration as the tenor Gianini must have been to her. But Hanslick says dryly, "But where can you find an Italian tenor with a transporting and beautiful voice, artistic and finished in his interpretations? And if you find him who can pay him?"
27The baritone, Coletti, is on the other hand worthy of all praise, and but for an unpleasant vibrato or tremolo would have easily taken all the first honors of the troupe which accompanied Sembrich. Were Madame Sembrich to accept an engagement in the Court Opera, even at less financial profit, she would find herself in far more suitable company. Vienna could better afford to pay more than to lose such an artist. I understand that she is engaged as guest for next winter in the Court Opera.
29I have omitted until now to speak of a very important personality in this operatic company, who deserves after Sembrich or with her the highest praise; I refer to the excellent conductor Bevignani, whose masterly leading did so much toward rendering these performances all that they were. In this day of Italian decadence Bevignani impresses us with his superiority. He is a dignified, independent artist in the best sense. I do not know from observation how wide his range is, but he struck me as all-sided and well rounded in his development and as one whose general ability attracts the highest confidence.
31Garimperti gave a pupils' performance not long since, when Miss Helene Herbert took the roles of Carmen, Mignon and Cherubin in "Figaro's Hochzeit." I have written about her in a former letter at some length, but I must add in this that Miss Herbert equalled if not surpassed all our expectations of her. From the instant recognition she received I felt I could confidently say "We are listening to a genius!" If allowed a chance Miss Herbert will one day stir the world. The following notice, among many others, I will quote from the Allgemeine Zeitung: "The well-known vocal teacher Frau Ida Garimperti gave on the 10th inst., in the theatre salon of the Hotel of the Bavarian Court, a pupils' performance, which was attended by numerous home and foreign theatre directors. The evening concert assumed a brilliant character, especially Miss Helene Herbert, a talented and charming young American lady, and Fr. Sauer, who with their beautiful, melodious and well-trained voices carried the large audience completely away, compelling them to constantly renewed applause. Miss Herbert adds to this a most striking dramatic talent, which was particularly noticeable in the fragment from "Carmen," most brilliantly rendered with her partner Pennalini, as well as in the Terzett from "Figaro's Hochzeit," and we believe that this talented young lady will make herself a much talked of artist in the future."
33Now I shall have to go backward and rehearse some events for which I have unavoidably been long in arrears.
35I have long wished to particularly call attention to the fact of the pianist Grünfeld's constantly increasing growth. I believe were he now to go to America he would create a great stir there. Heuberger has called our attention to the words of Brahms, who said of Grünfeld: "He is one of the very best ("Das ist einer der Allerbesten"). Brahms always praised Grünfeld's finger technic as quite unique and apart in its particular art. He often praised his touch and his unwavering rhythm. "His understanding of artistic creation and execution was mutual," says Heuberger. "The most beautiful that Grünfeld has to offer us are his Brahms performances." "The execution of the G minor rhapsodie and B flat minor capriccio was of the first rank." "Grünfeld, in spite of his fame, works ever deeper in his development. That, too, only the greatest do!"
37Another great institution in Vienna is the Concordia Club. The time passed by in the winter when I should have written about it. It was through the kind courtesy of Frau Hofrathin Frydmann that I secured admission in this strictly select circle of artists, critics and journalists. Some day I shall devote a whole chapter to its history. At present, now that the concert season is over, I like to recall that charming little girl pianist Bertha Jahn, who opened the program of one of these evenings, and that brilliant operetta artist the Countess Kinsky-Palmy, who made such a successful "Gastspiel" here as "BlumenMary," the "Kitchen Countess," and in other roles in the "Opera Ball" (Heuberger), "The Dreibund," &c. one of two readings
38Another great institution in Vienna is the Concordia Club. The time passed by in the winter when I should have written about it. It was through the kind courtesy of Frau Hofrathin Frydmann that I secured admission in this strictly select circle of artists, critics and journalists. Some day I shall devote a whole chapter to its history. At present, now that the concert season is over, I like to recall that charming little girl pianist Bertha Jahn, who opened the program of one of these evenings, and that brilliant operetta artist the Countess Kinsky-Palmy, who made such a successful "Gastspiel" here as "Blumen-Mary," the "Kitchen Countess," and in other roles in the "Opera Ball" (Heuberger), "The Dreibund," &c. one of two readings
40The latter operetta, by the way, is composed by Eugen v. Taund, and has passed a brilliant première in the Theatre an der Wein lately. Palmy has just closed this "guesting" and has left us. But I hear she is engaged for next season by the above theatre. She has large attractive powers and always sings to crowded houses here.
42The Kaim orchestral concerts here, with Frederic Löwe as leader, is something that I should long since have written about. Since that time this vigorous, magnetic young director, with a Beethoven head and first-class genius, has been elected "capellmeister" at the Court Opera. Löwe is a capital candidate for an American engagement—an all-round musician, professor at the conservatory formerly, and one of the most sympathetic wielders of the baton I have seen in Europe.
44He had the honor to direct the first performance of the Bruckner Fifth Symphony in B major on March 1 in Vienna. I must admit that this symphony for the moment seemed to raise Bruckner to the high-water level of the great genius. The great "Te Deum" combined orchestral forces that out-Wagnered Wagner, though the same tendency to disproportion seen in his other works was at times visible here. I have not space to dwell at length upon this work, but the performance produced a profound impression, the last movement electrifying the audience, when everyone rose as a single man and shouted as if beside himself. If a later judgment should take place higher estimate on Bruckner than apparent in the present day Vienna will have the honor to have been first in appreciation of this their characteristic representative.
46Philip Hale has written so much about Rimsky-Korsakov and his op. 35, "Scheherazade," that I will merely say it had a brilliant and successful performance here by the Vienna Philharmonic.
48I have also wished to speak of the two concerts (orchestral) for classic music under the leadership of Grädener, when a number of novelties for Vienna were given, especially that delicious little rondo of Mozart lately discovered by Dr. Guido Adler in the German University at Prague. The rondo has for its title "Donne Vaglie," and although performed by the Philharmonic in Prague, was sung this season in Vienna for the first time on March 26, the anniversary of Beethoven's death. This is one of three that Dr. Adler has unearthed out of old piles of older MSS. It is not in autograph, but all three are declared to be indisputably genuine. It is arranged for soprano and orchestra. Frau von Türk Rahn sang it most acceptably and with great effect. A Bach suite in B minor, in seven movements, for string orchestra and flutes, and Beethoven's "Ruins of Athens," with an admirable performance of the Dervish chorus, were among the other selections of that evening. We congratulate Herr Grädener on his zeal and hope he will succeed in reviving among the operette going Viennese a taste for better forms of music, where the new symphony orchestra so nobly failed. Speaking of Beethoven reminds me to speak of a worthy performance of the "Missa Solemnis" by the Vienna orchestra toward the close of the Lenten season. The Schubertbund, also, under the leadership of their choir-maester, Reichl, brought out a novelty in performing for the first time Wagner's "Das Tiefesmahl der Apostel," which left nothing to be desired in elevation of conception and artistic, soulful interpretation.
50Space does not allow a further description of these lofty
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