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Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
115 lines. Read by computer on 21 September 2026. Printed page 7. See the scan on archive.org.
1SOME CHICAGO ADVERTISEMENTS.
3HARRIET DEMENT PACKARD,
4SOPRANO.
5Address Musical Courier, 224 Wabash Ave., Chicago.
7FREDERIC LILLEBRIDGE,
8PIANIST;
9Mrs. Charlotte Lachs-Lillebridge,
10SOPRANO.
11Available for Concerts, Recitals, &c.
12For terms and dates address
13THE MUSICAL COURIER,
14224 Wabash Avenue,
15CHICAGO, ILL.
17BESSIE O'BRIEN,
18MEZZO SOPRANO.
19MARCHESI.
20ORATORIO, RECITALS, MUSICALES.
21Address care MUSICAL COURIER office,
22226 Wabash Avenue, Chicago,
23or 130 West Mason Street. Springfield, Ill.
25AUGUST HYLLESTED,
2644 Kimball Hall,
27CHICAGO, ILL.
29ESTELLE ROSE, …Contralto,
30Oratorio, Concert, Recital.
31Steinway Hall,
32Chicago, ILL.
34SPIERING QUARTET.
36Berlioz's work was performed from beginning to the end without dynamic shading; it was forte throughout. This chorus did not sing, it shouted, nay it screamed. But as this body of singers was able to follow the conductor quite complacently through all of his many changes in tempo, and as all in all they knew their notes from memory (although they sang modulatory difficulties horribly out of tune), I come to the conclusion that something really could be done with this material if a judicious conductor who would work up step by step were at the head of the organization. The present conductor, Karl Hopfe, is, as I said above, energetic, but he seems like a military drillmaster. Each time division is like a knock-out beat. Of the diverse tempi or mental conception of the work he has no idea. Everything is business-like, four cornered, and the whole performance showed only drill, nothing but drill, bodily drill.
38In place of Dr. Raoul Walter, of Munich, who was to have sung the tenor solo in the Sanctus, but who for some reason or other could not come to Barmen, Herr Naval, from the Berlin Royal Opera, was secured in the eleventh hour, and he sang the beautiful solo with excellent artistic results.
40At Berlin, on the day previous to my departure for Cologne, I attended at the Royal Opera House a gala performance of Lortzing's newly studied and newly mounted opera "Die beiden Schützen," which was given by command of the Emperor. His Majesty was present from beginning to the end, and he evidently enjoyed himself hugely. He laughed considerably at the antics of Lieban and of the newly engaged buffo-bass Knuepfer, but most amused he seemed over the comic utterances of Emil Thomas, the newly engaged comedian of the Royal Comedy. I have seen Thomas at New York, and he did not seem so very funny to me, nor could I enjoy here to the extent as some do Emil Thomas' specifically Berlinish humor or his imitation of the Hamburg dialect. Luckily in "Die beiden Schützen" he has to sing very little.
42The opera itself is not one of Lortzing's best works. The music is far inferior to that of his "Czar and Carpenter" or "The Armorer," and the action is not half as funny as it is complicated. The case requires, as you will notice, three comedians, and they were all that could be desired. Also the female element was well represented in the persons of Frau Herzog (Caroline) and Miss Dietrich (Suschen). Furthermore, the services of Herr Bulsz, Herr Philipp, Herr Krasa, Herr Staunner, Herr Alma and Frl. Pohl were called into requisition, and when I tell you that Dr. Muck had studied and conducted the opera and that Herr Tetzlaff had staged it, you will believe me that it was really a "gala" performance.
44I doubt, however, whether "Die beiden Schützen" will gain at the Royal Opera House the great popularity of "Undine," which was given no less than fifty times in 1897.
46Max Bruch's latest composition, the secular oratorio "Gustavus Adolphus," had its first hearing (the performance took place from manuscript) at Barmen a week or ten days ago under the direction of the composer. The work was well received, but from someone who attended the performance, and in whose judgment I place unbounded confidence, told me that aside from some good four-part choral writing, such as one is wont to find in all of the master's works, "Gustavus Adolphus" is his poorest creation in the way of invention, and my friend fears that Max Bruch is about "ausgeschrieben," viz., that he has nothing new to say.
48Shortly after Frau Ingeborg von Bronsart had produced at Leipsic her "Jery and Baetely," on the 24th ult., after several postponements, Miss E. M. Smyth, a young English composer, brought out at Weimar her phantastic comedy in two acts entitled "Fantasio," the book of which, also by Miss Smyth, is based upon Alfred du Musset's comedy of the same name. Miss Smyth's work was received with much favor, and the composer-poet of the fair sex was many times called before the curtain. Her success, an unqualified and undeniable one, by the way, means one step forward in the vexed woman-composer question.
50On the 8th inst. Carl Busch will conduct in Dresden at the Royal Belvedere (Trenkler's orchestra) part of his Leipsic program. The genial Danish-American composer sends me a very interesting and laudatory criticism upon his first concert from the pen of Prof. Martin Krause, facile princeps among the Leipsic music critics.
52I spent part of to-day with August Bungert, here upon the Petersberg, in view of that beautiful spot called Godesberg, where he is about to erect his Festspielhaus for the performance of "The Homeric World." O. F.
54Georg Liebling's Last Recital.
56This eminent pianist held another recital on Wednesday afternoon, May 18, at St. James' Hall, under the direction of N. Vert. As on many previous occasions Mr. Liebling commanded the marked respect of esthetical amateurs and also the admiration of the "British public." Mr. Liebling began well with Beethoven's Sonata in A flat, op. 110, of which the reading, so self-subdued and sympathetic, was fully appreciated by the audience. Chopin's pieces (including the Berceuse) proved that the talented pianist comprehends the texts of the Polish composer (for the piano)—and well knows how to treat, and, if the words may be used, to "humor" them. Mr. Liebling's own three Preludes to verses of Heinrich Heine charmed the audience. These pieces are really delicious interpretations, through musical "medium," of amatory stanzas, and are already published. At the end of Liszt's "Don Juan" Fantasia the audience recalled the wearied pianist, who then played his own pretty excerpt in D (from a "Suite à la Watteau") entitled "La Marquise."—London Musical Standard.
58On May 18 Herr Georg Liebling gave his ninth piano recital, in St. James' Hall, which attracted a considerable gathering of musical artists. Beethoven's Sonata in A flat major, op. 110, was the opening number. Next followed some examples of Chopin: The Valse in A flat major, op. 34, No. 1. This was perfectly delightful hearing; one would not have wished a phrase otherwise construed. The Berceuse and an Etude in F minor, op. 25, No. 2, was played with equally tasteful feeling, while Chopin's Sonata in B flat minor, and especially the Marche Funèbre, appeared to us to receive a far more sympathetic interpretation on this than on previous occasions. Three Preludes, suggested by Heine's verses, from the pen of Mr. Liebling, are instinct with poetic charm, and won cordial recognition. A brilliant Toccata by Dupont was encored, and for the concluding piece, Liszt's showy Fantasia on Mozart's "Don Juan," a similar tribute was exacted. One of Schubert's Impromptus, a bright little trifle by Godard, and a Humoreske by Moszkowski, dedicated to the concert giver, completed the list.—London Musical News.
60FRANK KING CLARK,
61BASSO
62Management Mrs. Geo. B. Carpenter, Steinway Hall, Chicago, Ill.
64GLENN P HALL, Tenor.
65ALLEN H. SPENCER, Pianist.
66Kimball Hall, Chicago, Ill.
68MARIE LEWANDOWSKA,
69Only teacher in Chicago representing
70GIRAUDET,
7172 Auditorium Building, Chicago, Ill.
73JEANNETTE DURNO,
74Concert Pianist.
75Address for terms and dates
76Mrs. G. B. Carpenter, Steinway Hall, Chicago.
78ANNA GROFF BRYANT, Contralto.
79CHAUNCEY EARLE BRYANT, Tenor.
80ORATORIO & CONCERT & RECITAL.
81Studio 403 HANDEL HALL,
82CHICAGO, ILL. Where Mrs. BRYANT receives pupils
84MARY WOOD CHASE,
85Concert Pianiste.
86Piano Lecture Recitals.
87For terms, dates, &c. address
88FRANK S. HANNAH, Manager,
89Steinway Hall, Chicago, Ill.
91Mr. HARRY J. FELLOWS,
92TENOR.
93Oratorio, Concert and Song Recitals.
94Address, 81 Fifth Avenue, New York.
95On tour to Coast with Mme. Bishop Concert Company till January, 1898.
97PERMANENT ADDRESS:
98Studebaker Music Hall, Michigan Boulevard, CHICAGO.
100Echoes from Italy.
102ROME, May 25, 1898.
104GEMMA BELLINCIONI, to whom I alluded in my last Echoes, has received a most flattering telegram from Massenet, congratulating her on her newest triumph in his "Saffo." "Your triumphs are always certain!" he says. "Glory to you, and always to you! Enthusiastically yours, Massenet." Her greatest triumph, however, will always be "Traviata." She fascinates you, hypnotizes you in this opera, and you dream of her again and again when all is over, and the last note of her glorious voice dies in your ear. She sang it the last night of her appearance in Rome, and the whole house arose at her when the curtain fell and hid her from the public. No one like Bellincioni has ever sung the celebrated "Amami Alfredo." She makes your flesh creep as you listen to the suppressed agony which gives the expression to the phrase. Bellincioni gives it with love, tears and passion, as no other singer ever has done before. Patti in this phrase left the public cold. Whatever she may have felt she did not make the public feel it with her, which Bellincioni does, and hence her power over her hearers.
106In Rome we are going to have a cheap opera summer season, to begin June 2. We are to have Ponchielli's "Giacconda," Puccini's "La Bohème," Franchetti's "Pourceauque" and another opera, new to Rome. The celebrated Mascheroni will conduct. This reminds me that Puccini is writing a new opera in five acts, and on the plot of Marie Antoinette's life. Puccini conceives most of his music when out shooting, he being an inveterate sportsman. When he travels he never takes a sheet of music with him, but he is never without his gun. That accompanies him everywhere! Curiously enough, he has the greatest horror of seeing a wounded bird or any other wounded game. He once shot a stag without killing it. He left it where it fell, and returned home without it. The following morning he felt like a murderer, and was irresistibly attracted to the spot where the wounded animal fell. He found it still gasping in the throes of death, but was not dead. Puccini has never forgotten the look in the dying animal's eyes, and has never aimed at big game since.
108It is very rarely that a composer will risk his fame by having a new opera given first in Rome. Romans are too severe, unjustly severe, to everything not made in Rome. Mascagni might not have taken Rome by storm, as he did with his "Cavalleria Rusticana," but for the fact that he was thought to be a Roman. This curious jealousy of the Roman public accounts for so many new operas being first given in any other town excepting Rome, and they come to Rome only after their fame is made. Romans will also sometimes hiss an opera that has succeeded elsewhere and will applaud an opera that has failed elsewhere, and that only to be different from others.
110Thus, this week, "Stella," a new opera by De Mardis, has been given in a little country town, and has been a perfect triumph. Six pieces in the first act were encored; also the finale of the second act and the whole of the third act. What do you think of that?
112"Raphael and Fornarina" is the title of an opera recently given in Milan. Both Raphael and Fornarina are written for women's voices. Fiasco! I suppose you know that fiasco means failure!
114Oratorios are rarely written by Italian composers—nevertheless, Don Lorenzo Perosi has just completed an oratorio on the subject of the "Resurrection of Lazarus." It is for five voices: Mary, Martha, Jesus, the historian
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