Scan 18
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
140 lines. Read by computer on 23 September 2026. Printed page 19. See the scan on archive.org.
1H. Whitney Tew Interviewed.
3The ensuing paragraphs will convey some idea of a recent interview between H. Whitney Tew, basso, who is now appearing before American audiences, and a representative of The Musical Courier:
5"In reply to your inquiries, it is difficult to know what to say about my drama with music, 'The Three Musketeers.' It would be better to refer you to the press matter regarding the way in which my impersonations were received, though perhaps I may be pardoned for relating an episode following the second performance at the Royal Court Theatre, in Liverpool.
7"As you know, the Cardinal Duke is banished from the court by Louis XIII. upon the discovery of his complicity with Miladi in the plot hinging upon the Queen's jewels, which the fated Anne of Austria had given to Buckingham. This scene, during which Richelieu is driven forth, precedes the fall of the curtain by seven or eight minutes, and I had made my way to my dressing room, where the dresser was busily engaged in divesting me of the Cardinal's vestments. The curtain had been down some ten minutes when a callboy appeared, saying: 'They are shouting for the Cardinal.' I readjusted my attire as quickly as possible (though I fancy my wig, &c., was much awry), and went down. Passing before the curtain I found the audience en masse waiting to say good night to the Cardinal. It was the most explosive and enthusiastic sort of a bien dormi I have ever been accorded.
9"The play itself is not properly an opera nor yet a drama. It was based on the lines of 'Guy Mannering' and 'Rob Roy,' to which music was set by Reginald Somerville. The National Grand Opera Company presented it and it thus had the advantage of being advanced by the strongest company of artists ever got together in Great Britain."
11"In what other roles have you appeared?"
13"I sang Mephistopheles in 'Faust,' the Landgrave in 'Tannhäuser,' the King in 'Lohengrin,' Il Commendatore in 'Don Giovanni,' Vincenzo in the 'Prentice Pillar,' Friar Laurent in 'Romeo,' Marcel in 'Les Huguenots,' the Count in 'Bohemian Girl,' Don José in 'Maritana,' and a number of roles in lesser works. 'The Three Musketeers,' however, proved to be the 'bill' which attracted the best houses, so the management presented it alone during the last weeks of the season."
15"It is said that you were expected to join a grand opera company in America this winter."
17"I received a generous offer from one of the operatic managers, but my bookings here and in England, which are practically continuous up to the middle of April, prevented my consideration of the plan."
19Referring to his forthcoming English appearances the basso stated that he would sing in "The Messiah" seven times, "The Creation" four times, "Judas" once, Rossini's "Stabat Mater" once, and Spohr's "Last Judgment" once. He will be a member of Mr. Vert's "In a Persian Garden" Quartet, and will also tour with Frederick Dawson, the English pianist.
21Upon being questioned as to which branch of vocal work he enjoyed most, Mr. Tew said: "Whichever I am engaged in at the time. I love my art, and I really cannot say which of the three great divisions, opera, oratorio or recitals, has the greatest attraction. Possibly the opera embodies more than the others, as it calls into requisition another great art, that of acting. This is tremendously fascinating, and if a point of approximation be reached between vocal and histrionic ability, naturally the achievement of success carries with it an enhanced satisfaction."
23"Do you take pleasure in private appearances in England?"
25"Generally, very much, indeed, for one is thrown with some of the most cultivated and charming people in the world. I recall with unqualified pleasure my professional work in many English country homes."
27"It is to be hoped that your long residence abroad has not caused you to forget your homeland."
29"No, indeed! However much I may enjoy my life in England, yet I am proud that my birthright is that of an American citizen, and no time or different environment can ever efface satisfaction in the progress and achievements of the 'child of nations.'"
31"What was the nature of your October tour in Great Britain?"
33"My engagements were chiefly oratorio, though I sang at many social functions in London. I was much disappointed not to arrive in time to participate in three concerts organized by Lady Hothfield, of Appleby Castle, Westmoreland. 'The Messiah' and 'Creation' are the two works most done by the societies there. Rossini's 'Stabat Mater' is very popular. During October I sang in Glasgow, Aberdeen, Edinburgh, Londonderry, Manchester, Nottingham and a number of smaller musical centres."
35Press Comments Upon Mr. Tew's Operatic Appearances.
37"The Three Musketeers."
39The author is Herbert Whitney, who, under the name of Whitney Tew, plays the part of Cardinal Richelieu. * * * It is less an opera than an operatic drama, and on that account it will probably obtain a wider and more mixed popularity than could otherwise be expected of it, for, combined with sweet, tuneful music, there is ample scope for dramatic talent. The passages selected for reproduction—however much they set the accuracy of the original at defiance—and, of course, great latitude is permissible in opera—are not only stirring and sensational, but very effectively treated.
41The interest of the audience is arrested and sustained from the scene to the last, and the curtain invariably falls on a good situation. * * * The most striking figure in the opera is probably that of Richelieu, which was filled last night by Whitney Tew. His make-up was decidedly ghastly, but Mr. Tew not only acted the part with much credit, but gave a capital rendering of the song, "While Richelieu Holds the Helm," for which he was encored.—Aberdeen Free Press, April 19, 1899.
43The cast was a strong one. Mr. Hedmont as Tannhäuser, Miss Ella Russell as Elizabeth, Whitney Tew as the Landgrave and William Ludwig as Wolfram were a sufficient guarantee of a certain distinct measure of success. * * * Mr. Tew sang well and with feeling.—Pall Mall Gazette, March 7, 1899.
45Whitney Tew (the author) gave a strikingly characteristic reading of the part of Richelieu, his acting in the downfall scene being especially impressive and touching.—The Era, April 15, 1899.
47"Faust."
49The role of Mephistopheles was essayed for the first time by Whitney Tew, and his singing was really excellent, and his conception of the part artistic and consistent throughout.—Independent, Dublin, January 23, 1899.
51"Tannhauser."
53Whitney Tew is entitled to something more than a word of praise for the manner in which he adapted himself to the requirements of an exacting role in the part of the Landgrave.—Dublin Nation, January 30, 1899.
55Whitney Tew made a very effective Landgrave, using to good purpose his principal opportunity in the splendid scene of Tannhäuser's banishment.—The Manchester Guardian, February 7, 1899.
57As Landgrave Mr. Tew, who possesses a fine range of voice, sang with ease and expression, and found favor with the audience.—Belfast Morning News, March 10, 1900.
59As the Landgrave Whitney Tew uses a rich baritone voice with a dignity entirely in keeping with the character of the music allotted to him.—Brighton Herald, February 26, 1899.
61Whitney Tew, as the Landgrave, sang with regal stateliness.—Manchester Courier, March 6, 1899.
63Whitney Tew made a very effective Landgrave, using to good purpose his principal opportunity in the splendid scene of Tannhäuser's banishment. His fine bass voice is well suited to the music.—Manchester Guardian, February 7, 1899.
65"Don Giovanni."
67In the last tragic scene with Don Giovanni, Whitney Tew displayed a voice of great power and good quality, and the music was finely sung.—Oldham Daily Standard, February 14, 1899.
69Whitney Tew made the most of the one opportunity he has for letting his powerful bass voice be heard, and he acts well the scheming Richelieu.—Glasgow Evening Times, March 30, 1899.
71Whitney Tew gave a strong and impressive embodiment of the part of the Cardinal.—The Stage, April 20, 1899.
73Mr. Tew sang the song of the Cardinal with great impressiveness and power.—Evening Telegraph, Dundee, April 28, 1899.
75Whitney Tew (the librettist) portrays the character of Richelieu with force and decision, discriminating carefully the finer shades of the individuality.—Dundee Advertiser, April 28, 1899.
77Mr. Tew's deep bass voice was well suited to the music of the Landgrave.—Morning Post, March 17, 1899.
79As previously announced, this artist's engagements in this country are under the direction of Charles L. Young, Townsend Building, New York.
81Severn Pupils' Musicae.
83The pupils of Mr. and Mrs. Edmund Severn gave a joint recital last Wednesday afternoon at the Severn studio, 131 West Fifty-sixth street. The singing of Mrs. Severn's pupils was remarkable for clear enunciation, beautiful tone and intelligent interpretation. One of Mr. Severn's violin pupils displayed skill and other points which promise well for the future. The program presented was as follows:
85Violin solo, Romanza……………………………………………..Thomé
86Soprano solo, Parla……………………………………………..Arditi
87Contralto solo, Ah, Mon Fils………………………………………Meyerbeer
88Mrs. Louise Oliver.
90Duets for two violins—
91Le Rêve………………………………………………………..Thomé
92Gavotte and Musette…………………………………………Thomé
93Miss Wheeler and Mr. Severn.
94Soprano solo, Rosamonde………………………………………Chaminade
95Mrs. Jessie Graham.
96Soprano solo, Dreams…………………………………………Homer Bartlett
97Miss Gertrude Traud.
98Violin solo, Adagio from Suite…………………………………Riles
99Miss Laura Wheeler.
100Soprano solo, Heaven Hath Shed a Tear…………………….Kücken
101Violin obligato by Mr. Severn.
102Miss Nettie Vester.
104Contralto solos—
105The Arab Lover……………………………………………….Severn
106To Aithne………………………………………………………Severn
107Miss Oliver.
108Piano solo, Nocturne, op. 9, No. 1……………………………Chopin
109Miss Ida Traud.
111MR. LOUDON G. CHARLTON, Manager the CONCERT-DIRECTION GOTTSCHALK, has the honor to announce a tournée in the United States and Canada by the
113RUSSIAN PIANIST GODOWSKY,
114A PIANIST WITHOUT A PEER.
116SOLE MANAGEMENT: CONCERT-DIRECTION GOTTSCHALK,
11713 & 15 West 28th Street, NEW YORK.
119STEINWAY PIANO USED.
121M. I.
122SCHERHEY,
123VOCAL INSTRUCTION.
124Combined Italian-French-German Method.
125CHURCH, CONCERT, ORATORIO, OPERA.
126Studio: 780 PARK AVENUE, Cor. 73d St., NEW YORK.
127Telephone: Seventy-ninth, 1152.
129Dr. MEDINA-FERRER.
130School for Vocal Culture.
131Years of exhaustive research into the best methods of vocal training, combined with an accurate knowledge of the anatomy and physiology of the larynx, have enabled him to perfect a common sense method.
132STUDIO:
133Nos. 30 & 32 West 15th Street,
134NEW YORK CITY.
136MARGUERITE
137FREELING-NORRI
138CONTRALTO.
139For Terms, Dates, &c., address care of MUSICAL COURIER, or THE CLIFTON, 52d St. and Lexington Ave., City
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