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Musical Courier 1899-10-11: Vol 39 Iss 1021, 1899
58 lines. Read by computer on 22 September 2026. Printed page 5. See the scan on archive.org.
1Berlin Branch Budget
3German Headquarters of The Musical Courier, Berlin, W., Linkstrasse, September 26, 1889.
5Bazin's graceful comic opera, "The Trip to China," about the successful premiere of which I reported at length in my last week's budget, is continuing to draw good audiences to the Theater des Westens.
7In the meantime, however, Mr. Hofpauer keeps on varying his repertory and giving proof of the fact that his personnel contains also some other good material aside from the artists concerned in the cast of the said French opera. Thus I heard in "The Barber" as Rosina an excellent and decidedly musical coloratura soprano named Mrs. Steinmann. And on the following night Lortzing's "Undine" was given with a very acceptable cast and generally satisfying artistic results, although, and as a matter of course, the reproduction cannot vie in either mise-en-scene or in impersonation of the principal parts with the one offered at the Royal Opera. Director Hofpauer should avoid, if possible, teaching the repertory of the court institute, for the comparisons which are unavoidable are mostly always equally odious.
9Nevertheless, the three new artists who appeared in "Undine" at the Theater des Westens—a youthful soprano, a baritone and a buffo tenor—were, as I stated above, decidedly acceptable. Miss Camilla Goetz, who sang the title part, has a soft, sympathetic and well-trained voice and some histrionic ability. She is lacking, however, in experience, in dramatic warmth of expression, and her musical declamation is still somewhat defective. As the lady, however, has musical as well as vocal gifts, her talent may carry her over these shortcomings when once she begins to master the stage situation.
11The best singer in the cast was the new baritone, Herr Schwabe, who as Kushleborn displayed a not very sonorous but highly pleasing voice, and whose delivery shows uncommon musical intelligence. His impersonation of the part, especially when he sang piano, was thoroughly artistic and, despite the fact that he never once forced himself or his vocal organ to the usual display of lung power, very effective.
13Mr. Holy, the new buffo tenor, occasionally hurried somewhat in the part of Veit, but he sang his celebrated drinking song without any of those exaggerations so pleasing to the gallery, and he has a healthy, resonant voice.
15The other members of the cast are known from last season or have been mentioned by me in previous letters. I want to add, however, that Kapellmeister Johannes Doebber conducted like a good musician of considerable routine, despite the fact that the ensembles were not always concise, the entrances, especially in the brasses, not very precise and the chorus evidently stood in need of some more rehearsals.
17The first musical deed at the Royal Opera since the reopening after the vacation was the resurrection also of one of Lortzing's operas. In fact, as I pointed out some time ago, this poor composer, to whom his country owes a debt of gratitude it can never repay, has become the compositeur à la mode, and shares the repertory at the Berlin lyric theatres almost equally with the greatest of all musico-dramatic creators, Richard Wagner.
19In New York this sudden revival of a perfect Lortzing cult would surely be impossible, or at least unimaginable. For even if I leave out of consideration the question of the dialogue, which, spoken in German, would be unintelligible to a great majority of the Metropolitan Opera House visitors, the American as a rule has not the predilection for the sort of harmless, almost naïve and anything but caustic or pregnant humor which pervades the Lortzing comic operas, and this is just what the German likes. More than any other one of the composer's work, his "Wildschütz" ("The Poacher") is permeated with this style of humor, and the music is among the freshest and also ripest of all of his productions, his chef d'œuvre, "Czar and Carpenter," not excluded. "The Poacher" is charming and delightful from beginning to end and has a perfect fountain of spirited and never commonplace inspiration.
21If such a work is revived as it was done here last Friday night, in the technically flawless and vocally appropriate style, you can imagine that the effect upon a German audience is an irresistible one. Richard Strauss was the conductor, and this most modern minded of all composers had worked himself as admirably into the spirit of the composer of a generation ago as he had done in the case of the "Fledermaus." This is the principal characteristic of a genuine artist of catholic musical taste, that he will give the same care and bestow the same amount of intelligence and understanding upon true art works of as widely differing musical bases as "Tristan," for instance, and "Wildschütz" or "Fledermaus." And he will and actually does interpret each of these works in the style which is sui generis. Perhaps his ardent temperament led Strauss just a little beyond (at moments, anyhow) of what the composer intended or dreamed of. His impulse, however, was irresistible and he carried his artists upon the stage as well as in the orchestra with him to a most glorious, overflowingly humorous reproduction of "The Poacher," a work which had not been heard at the Royal Opera House for many years, but which, in all probability, will now be kept steadily in the repertory.
23The brilliant victory, however, was not gained solely by the conductor and his orchestral and choral forces; the six principals in the cast had their honest share in it, and were so admirably selected that I feel like committing an injustice if I single out any one of these for special praise.
25Considered from a purely vocal viewpoint, the palm, of course, belonged, as usual, to Mrs. Herzog (the Baroness). But, histrionically, she was so exceedingly genuine in the assumed character of a peasant girl, that she overdid the thing. A grand dame will betray herself as such in moments of excitement, be she never so well dressed a peasant girl, and in this Mrs. Herzog failed to portray exactly the character she interpreted.
27Kneuper as Schoolmaster Bamlus was irresistibly funny, and all the more comic, as he really seemed to lay less stress upon the risible side of his role than upon the vocal one. His delivery in fastest tempo of the A, B, C duet was perfectly marvelous. In this he had a delightful partner in Mrs. Gradl. This little lady is working up her way as one of the most valuable and versatile artists in the entire personnel.
29Bulsz is admirably fitted for the part of the Don Giovannistically but somewhat henpeckedly portrayed, Count. He is elegant without becoming foppish, and jovial without losing his aristocratic airs. Vocally, he also did some very fine work, although he indulged a trifle too much in the parlando style of delivery. He was, moreover, in very good voice, and in the Polonaise gave out a ringing high G sharp.
31Philipp was exceptionally good in the part of the Baron, and I must say that he is an artist of the improving kind. I don't care so very much for the quality of his tenor voice, but he sang well and histrionically tackled his part with great cleverness and genuine abandon.
33The contralto buffo part (a very rare one at that) of the Countess could not have been more humorously interpreted than was done by that beautifully voiced arch witch, Mrs. Schumann-Heink. As a Sophocles admirer I have never known her rival. She was excruciatingly funny. The quartetino sung by the four principals was enthusiastically demanded. All of the artists were heartily recalled after each act, and according to the new rules were allowed to appear before the curtain. Altogether, it was one of the most delightful operatic performances I ever witnessed.
35During the present week we shall have the complete Nibelungen cycle at the Royal Opera House.
37The first novelty to be brought out there this season is to be Eugen d'Albert's latest musico-dramatic creation, "Cain." The work is now being rehearsed, and the première is promised for the latter part of October. It will be conducted either by Richard Strauss or by the composer in person.
39Madame Melba will appear in three roles at the Royal Opera House, as "guest," on the nights of November 29, December 2 and 5. "Lucia" has been selected by the artist for her début before a Berlin audience.
41Apropos of Richard Strauss, who has summered well in the mountains of his native country, Bavaria, he finished there during his vacation a number of male choruses, settings of texts from Herder's "The Voices of Nations." Two of these choruses, entitled "Love" and "Old German Battle Song," will be published next month as Strauss' op. 42, by F. E. C. Leuckart, of Leipsic.
43Teresa Carreño will be the soloist of the first of this season's Berlin Philharmonic concerts, which will take place on October 9, under Nikisch's direction. Our countrywoman will perform on this occasion the Tchaikowsky B flat minor Concerto, and the program will consist further of the third "Leonore" overture, the "Meistersinger" Vorspiel, and, as novelty, the D minor symphony of César Frank.
45Other novelties selected by Nikisch for an early performance at these concerts are Frank Van der Stucken's symphonic prologue to Heine's "William Ratcliff," and Antonin Dvorák's latest symphonic creation, entitled "Heldenlied" ("The Song of a Hero").
47Lilli Lehmann, who, together with her sister Marie, inhabited all summer the new villa, delightfully situated, which she had built for her near Scharfling, on the Mondsee, was driven out of her tusculum by the recent inundations in upper Bavaria. The artist is now back in Berlin, or, rather, Villa Colony, in the Grunewald, near Berlin.
49The first monument of Johannes Brahms in Germany will be unveiled at Meiningen on October 7. It is the work of the sculptor Hildebrand, of Dresden. A great Brahms music festival will be held at Meiningen on this occasion, the programs embracing orchestral, choral and chamber music, as well as pianistic works of Brahms. The festival, which is to last four days, will be conducted by General Musikdirektor Fritz Steinbach, and as soloists the Joachim Quartet and the English pianist Borwick will take part in the proceedings.
51From Dresden the news is promulgated that impresario Grau has invited the famous Dresden Royal Opera personnel and its genial leader Hofrat Schuch to give some operatic model performances in London at the Royal Italian opera during the summer season of 1901. Mr. Grau, with his usual shrewdness, is taking time by the forelock, and if, as may happen, his invitation is not accepted by the said Saxonian court institute, then Maurice will at least have had some good free advertising in all the leading newspapers in Germany and England.
53Georg Liebling performed, previous to his return to London, his new piano Concerto in A major, at Bechstein Hall, before a few invited friends and members of his own and his wife's family. The work has been extensively and favorably criticised, as well as analytically reviewed, in the columns of The Musical Courier a few months ago, and so it behooves me only to say that under the composer's very well trained fingers and in his authoritative interpretation, seemed decidedly effective. The first movement, which is the best, as far as workmanship is concerned, is, however, not very original in invention, while the F major slow movement is very tender, graceful and melodious, and the final satz, in the character and rhythm of a polonaise, is very brilliant and satisfying. Of the modern piano concertos I have heard of late years this one is among those which show considerable talent and equal virtuosity in the treatment of the solo instrument.
55Manager Hermann Wolff, who was confined to his bed all last week with trouble caused by gravel, is now back in his busy office completely restored to health.
57It is not generally known that the heritage of Beethoven contained quite a collection of album leaves which a number of friends of both sexes had dedicated to the renowned composer when he left his native town of Bonn for Vienna in 1792. Some of these leaves are decorated with clever drawings and some of them contain some prophetic words. Thus one of them hopes that "Mozart's mind might be bestowed through Haydn's hands" upon the master. The collection which some time ago became the property of the imperial court library of Vienna is soon to be made public in its completeness, and furnished with annotations about Beethoven's circle of friends in Bonn. The editing of the latter
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