Scan 32
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
87 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 33. See the scan on archive.org.
1Nevada's Third Sunday Night.
2METROPOLITAN CONCERT.
3THE last of the series of Sunday night concerts under the management of Charles L. Young drew forth another large audience, which again marveled at the wonderful artistic finish of the world-renowned diva. Nevada's first number was the air "Du Mysoli," by Felicien David, which was given by request, having been sung at the previous Sunday night concert. The second number, "La Fée aux Chansons," by Bemberg, is full of very intricate vocal difficulties, and was sung with perfection of technic and delightful purity of tone. An enthusiastic ovation followed this number. The real triumph of Madame Nevada's singing was achieved in the cavatine and rondo from "Sonnambula." This probably has never been so artistically delivered on the Metropolitan Opera House stage as on this occasion. It seems that Madame Nevada had unusually warmed up to the occasion, and her voice was delicious. The audience was absolutely spellbound by the warmth and feeling displayed in the Cavatine, while the Rondo was a brilliant exhibition of vocal pyrotechnics. Despite the rule against encores, the artist was obliged to infringe on it and repeat the Rondo. Nevada is a truly great artist.
5Josef Weiss, the pianist of the occasion, bristles with technic. The tremendous difficulties of the "Don Juan" Fantasie were overcome with ease. He is equipped with enormous technical abilities and is evidently a musician of no mean abilities.
7Charles A. Kaiser sang the Prize Song from "Meistersinger" and the "Lorelei," by Liszt, both exceedingly difficult numbers. He seemed, however, to be under a nervous strain and did not do himself justice.
9Madame Van den Hende played the Andante and Finale from the first Goltermann Concerto. Her violoncello was played with beautiful tone and good technic and she met with great success.
11The following is the program:
12Overture, Le Cheval Bronze………………………………………Auber
13Intermezzo, A major (op. 118)………………………………….Brahms
14Nachfalter………………………………………………………..Strauss-Tausig
15Josef Weiss.
16The Prize Song from Meistersinger……………………………Wagner
17Chas. A. Kaiser.
18Adagio and Finale from Concerto……………………………….Goltermann
19Miss Flavie Van den Hende.
20Air, Du Mysoli (by request)………………………………….David
21La Fée aux Chansons…………………………………………..Bemberg
22Madame Nevada.
23Gavotte………………………………………………………..Franko
24Rakoczy March……………………………………………….Berlioz
25Choral and Fugue……………………………………………..Bach
26Don Juan Fantasie……………………………………………..Liszt
27Josef Weiss.
28Lorelei………………………………………………………..Liszt
29Chas. A. Kaiser.
30Rondo, from Sonnambula………………………………………Bellini
31Madame Nevada.
32Waltz, Freut Euch des Lebens…………………………………Strauss
33Conductor, Nahan Franko.
35The Galin-Paris-Cheve Method.
36WILBUR A. LUYSTER, authorized representative of the Galin-Paris-Chevé method of sight singing, and who is the vice-president of the Music Teachers' Association of America, finds this season a very busy one. In Brooklyn, where for the past two years he has been teaching this method, he has had much success, and in New York he also has a strong foothold.
38This method was originated as far back as the seventeenth century and has received the commendation of the ablest musicians and educators. Mr. Luyster has planned to give a series of free trial lessons, for the purpose of investigation, at his studio, No. 26 East Twenty-third street, next month. The dates of these lessons will be announced next week. Classes are now forming, and circulars will be sent on application.
40Maude Lillian Berri.
41THE subject of this sketch, Miss Maude Lillian Berri, is an admirable type of the successful American singer.
43She is a native of California, but has received her entire musical education in the East under the direction of the well-known vocal teachers, Charles R. Adams, of Boston, and George Sweet, of this city.
45In some respects her record resembles that of the better known singers, in that she evinced an unusual vocal talent at a very early age, which warranted the course of study she has since pursued with such gratifying results.
47Miss Berri is a lyric soprano, possessing a voice of exceptional range and purity, which she uses with taste and discretion.
49Nature has been beneficent to this charming young singer, bestowing upon her a most attractive personality, which is commensurate with her vocal gifts.
51It is less than two years since Miss Berri made her début in opera, yet in that short space of time she has earned for herself an enviable reputation and is at present one of the most promising prima donnas of the Castle Square Opera Company.
53One of her greatest successes was achieved last week when she appeared for the first time as Lucia, assuming the difficult role with but three days' preparation.
55That her ability is recognized and appreciated in other cities in which she has sung is attested by the following press notices:
57Maud Lillian Berri's Zerlina was one of the best characterizations she has yet given. She acted and sang with a dash and vigor in keeping with the occasion, and received several handsome floral tributes.—The Republic, St. Louis.
59Maud Lillian Berri is giving us a Germaine (in the "Chimes of Normandy") very different from the namby-pamby, be-good-and-you'll-be-happy-but-won't-have-a-good-time little girl that we are accustomed to. She invests the character with a vivacity and grace which the writer has rarely seen in it. The music of the part has been altered to suit her, and she interpolates a solo in the third act. As a consequence Germaine is a much more striking character than she usually is.—St. Louis Post-Dispatch.
61Miss Maud Lillian Berri has sprung into high favor in half a week, and it now looks as though she is destined to be the most popular prima donna since Maconda had St. Louis at her feet. Miss Berri has the magnetic quality in such a degree that she can upset ideals without giving offense. She is doing it this week. The role she has is distinctly soubretteish, and she is a woman of regal height, yet she is a success in it.—St. Louis Post-Dispatch.
63Lillian Berri's Arline is in all respects artistic. It would be difficult to choose for this gifted young woman a part better suited to her talents and temperament.—St. Louis Star.
65Five weeks ago the Globe-Democrat pronounced Miss Maud Lillian Berri to be a "surprise." * * * The California song bird has now given summer theatre goers good rendering of five leading light opera roles.—Globe-Democrat, St. Louis.
67It was not until the second act that Maud Lillian Berri came on the stage and was accorded an ovation, and her rendering of "I Dreamt That I Dwelt in Marble Halls" evoked a triple encore. She is in the opinion of many who heard her last night the best Arline that has been heard in St. Louis in many years.—St. Louis Globe-Democrat.
69Miss Berri was a delightful Arline. She acts the part with more intelligence than the writer remembers ever to have seen bestowed upon it. She got three encores on "I Dreamt that I Dwelt in Marble Halls."—St. Louis Post-Dispatch.
71The Guilmant Organ School.
72THE first of the pupils' recitals at the Guilmant Organ School was held Thursday afternoon in the Old First Church. Mr. Carl devoted the recital to the study of hymn playing, and the pupils who participated showed a fine conception of this all important but too often neglected line of work.
74Among the pupils who participated were Mrs. Harry Sheldon Bentley, Miss Barnaby, Daniel Lang, William Edward Grombach, Chauncey Demaray, Mr. Schweitzer and Edward J. Sims. At the close of the recital Mr. Sims played the first movement from the Fourth Sonata, in D minor, by Alexandre Guilmant, in a highly creditable manner, showing an excellent technic and fine precision. His interpretation reflected the highest credit on the thorough training he has received and he is entitled to unstinted praise. The next recital will take place before the holiday vacation, on December 7, at 4 o'clock. Dr. Gerrit Smith, honorary president of the American Guild of Organists and a vice-president of the school, will deliver a lecture on "The Organist's Preparation," before the students.
76Marcia Craft.
77Some of Miss Craft's press notices follow:
79(no line here) one of two readings
80Miss Craft, who essayed the part of Gabriel, sang with great breadth of style and volume of voice, giving a presentation that was admirable in every way. The quality of her voice is delicious and perfectly suits both the music and the character of the part.—Providence Telegram, November 22.
82Of the soloists Miss Craft shone as the bright, particular light, her work ranking with that of any I have ever heard in the part. Her rendition of "On Mighty Pens" was a splendid effort, and her "In Verdure Clad" was as fine an interpretation of the number as I ever heard. Miss Craft has everything in her favor—a good voice, good method, and a superb confidence coupled with an unassuming manner, and has a bright future before her.—Woonsocket Evening Star, November 23.
84In the "Golden Legend," with the Arion Club, at Providence, Miss Craft has been heard before with the same unstinted praise which last night fell to her lot, because of her ease of accomplishment and her purity of tone.—Providence Journal, November 22.
86Miss Craft, who filled the soprano role when the work was performed last season, again essayed the part of Elsa. She sang with increased breadth of style and volume of voice, giving a presentation that was admirable in every way. The quality of her voice is delicious and perfectly suits both the music and the character of the part.—Providence Telegram, November 22.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.