Scan 14
Musical Courier 1901-12-25: Vol 43 Iss 1135, 1901
76 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 15. See the scan on archive.org.
1THE MUSICAL COURIER.
3"THE AMERICAN DANGER" IN VOCAL ART.
5THE following criticisms from Dorpat, Russia, will interest every musical American:
7FIRST ARTICLE.
9It was a very musical though skeptical and prejudiced audience that gathered to hear the composer Pirani and the, to us, unknown New York prima donna, Frau Alma Webster Powell.
11"What can this new America—the land of the dollar and materialism—show to us artistic Europeans? Possibly a cleverly conceived Barnum's White Elephant!" This prejudice, however, melted away like snow before the sun, and unconsciously a new impression swept over us. America is the land of rapid progress in every line, and soon, perhaps, may come the time when likewise in the field of art, which Europe considers her own monopoly, it will be an all-surpassing rival.
13It is not every one's forte to sing the songs of Pirani. And to execute with facility and ease parts that have apparently insurmountable difficulties demands an artist, and such a one as is Mrs. Powell.
15An artist of song, with such voice material and such an extraordinary schooling as is rarely heard, Madame Powell is positively not to be equaled, and as to a superior, it is absolutely out of the question.
17The artist possesses a soprano voice with a compass of not less than three octaves, which, in spite of its wide range and large volume, remains most smooth and equal throughout its entire range.
19The very first number, Delibes' "Glocken" aria, from "Lakme," made a tremendous impression upon the listeners—and how could it have been otherwise? They were real bells and pure silver bells of most beautiful tone that we listened to. It seemed hardly a human voice. one of two readings
20The very first number, Delibes' "Glöckner" aria, from "Lakmé," made a tremendous impression upon the listeners—and how could it have been otherwise? They were real bells and pure silver bells of most beautiful tone that we listened to. It seemed hardly a human voice. one of two readings
22In the second aria, "Queen of the Night," from the "Magic Flute," Mrs. Powell showed her ability to sing with breadth and deep felt sentiment.
24This aria is usually transposed, for singers who can sing the high F of the original key with ease and beautiful tone are great rarities, as rare, indeed, as black diamonds. But even this wasn't enough, for in a composition of Pirani's she reached the high G above high C.
26When we add to this phenomenal ability her brilliant appearance and charming manner, then, indeed, must Mrs. Powell be reckoned as the flaming sun among the "stars" of the stage.
28It is, indeed, with great pleasure that we learn the artist has been persuaded to appear in a second concert Friday evening.—Nordlivländische Zeitung, November 27, 1901.
30SECOND ARTICLE.
32The second Pirani concert was a real triumph for Mrs. Alma Webster Powell. A large audience had assembled to hear and admire this unique artist, who stands alone in her virtuosity.
34We can only repeat the words of our first criticism, that an artist with such a phenomenally trained, voluminous voice has never before been heard in our midst.
36The bell-like intonation, the ease of tone production, which in range goes away beyond the ordinary limit of the human voice, the astounding virtuosity—these are the dazzling accomplishments which will make the memory of this artist remain, never to be forgotten.
38The most difficult arabesque of the art of song, trills, runs, turns, salti, staccati passages, all were delivered with a perfect delicacy and grace.
40Besides this, the extreme and exceptional height has a brilliancy of quality that fairly dazzles one, while the voice in the lower range preserves its mellowness and purity.
42It would seem to us that the compositions of Pirani had been written exclusively for Mrs. Powell, for it is hardly to be supposed that another singer could accomplish such difficulties as these compositions present.
44As an opera singer, Mrs. Powell should be capable of the greatest things, for her beautiful stage appearance and wonderful power of mimicry, as shown in the play of expression over the features, are remarkable in themselves.
46Added to all this is a most simple and fascinating style, which the "Kinderlieder" displayed, as well as the most novel and original "Tauseuderlei," and an interpretation like the variations on the "scala diatonica in mi," simply wafted us away to fairyland, as if enchanted.—Nordlivländische Zeitung, Friday, November 10 (23), Dorpat, Russia.
48It is refreshing to know how a people as musical as the Russians have been compelled to acknowledge that an American, receiving her training solely in New York, from Mme. Anna Lankow, has in schooling and finish exceeded their greatest expectations.
50If Mrs. Powell has conquered the Russians against their self-acknowledged prejudice of American art and artists—if also it is true that the American voices are in themselves the most gifted natural organs, to verify which statement we need only to observe the wide spreading réclame of all European voice trainers, and their great effort to secure American pupils—if this is true, then why does not the American nation appreciate this fact and create opportunities for the hearing of their native talent?
52What is all this training for—why all this struggle for perfection on the part of these young and gifted voices, if they must go into foreign fields, push their way through every difficulty, jealousy, hatred, prejudice, poverty, foreign customs, foreign languages—all this in order to make our own people willing to hear their own native talent, that some other nation has sanctioned and acknowledged worthy of our approval?
54We listen in rapt awe to the broken down, worn out and half incapacitated singers of other countries, because of their past reputation. Were a young artist of no reputation to sing the same roles twice as well no one would listen, for Europe has not told us she is worth our hearing. And why? Are we such fools that we do not know art when we hear it? Can't we distinguish for ourselves what is good and what is bad?
56Then why can all of these foreign artists, often with little reputation at home, make fortunes from their American hearers?
58If we do love art for art's sake, and can distinguish the artist, why should we be reluctant to hear those of our own voices that, when sanctioned by foreign approval, we rush in great numbers to honor?
60For this we have a splendid illustration in Sibyl Sanderson, who, as we all know, is a California girl, and Yvonne de Treville, acknowledged by all art critics to be a young artist of great ability, who, unable to secure an engagement worthy of her ability in her own home, America, without foreign prestige, has been forced to seek acknowledgment abroad, where she now is.
62In the past year a number of American artists, and American trained besides, have secured very good foreign engagements, first of whom must be mentioned Mrs. Alma Webster Powell, traveling on a world tournee now in Russia, who, because of her beautiful voice and training, was engaged in the greatest city of Germany, Berlin, at the Royal Opera House, from which she was forced to resign on account of the jealousy of the other singers. Miss Geraldine Farrar, the accounts of whose struggles for acknowledgment among the old and envious prima donnas of the same opera house are appearing just now so frequently in the dailies; Miss Martha Hofacker, also a pupil from the Lankow studio, now so successful in leading juvenile parts at the Strassburg Opera; Miss Parkinson, a Kansas City girl, unable to find a suitable hearing here, now singing with creditable success in France, and Miss Abbott, a wholly American trained artist, who has just made great success in Paris. And was Miss Abbott's success easily bought? What could be more ungenerous or contemptible than Alvarez's refusal "to sing with a débutante?"—and yet this foreign artist is engaged by Americans to sing in America at a tremendous salary. one of two readings
63In the past year a number of American artists, and American trained besides, have secured very good foreign engagements, first of whom must be mentioned Mrs. Alma Webster Powell, traveling on a world tour now in Russia, who, because of her beautiful voice and training, was engaged in the greatest city of Germany, Berlin, at the Royal Opera House, from which she was forced to resign on account of the jealousy of the other singers. Miss Geraldine Farrar, the accounts of whose struggles for acknowledgment among the old and envious prima donnas of the same opera house are appearing just now so frequently in the dailies; Miss Martha Hofacker, also a pupil from the Lankow studio, now so successful in leading juvenile parts at the Strassburg Opera; Miss Parkinson, a Kansas City girl, unable to find a suitable hearing here, now singing with creditable success in France, and Miss Abbott, a wholly American trained artist, who has just made great success in Paris. And was Miss Abbott's success easily bought? What could be more ungenerous or contemptible than Alvarez's refusal "to sing with a débutante?"—and yet this foreign artist is engaged by Americans to sing in America at a tremendous salary. one of two readings
65What does all this mean? How is this going to end? Can there be no outlook for conscientious struggling voice trainers, who, by patience and superior skill, are able to train these same American voices so that Europe's fastidious audiences accord them unanimous praise?
67What incentive is there for such struggling if an acknowledgment must be bought so dearly—and, in fact, can only be attained by those fortunate enough to have financial support back of them?
69Why has Russia accorded Mrs. Powell such honors? Everywhere they mark with astonishment her wonderful technic and schooling. And yet this schooling was acquired right here in New York by years of patient study in the studio of Mme. Anna Lankow.
71In this self-same studio to-day there are twenty artistically gifted young American voices, which in the course of two or three years will be fitted for first-class operatic work—many of them already known to New York audiences.
73Let us see what else this one studio contains. In the list of advanced pupils, sopranos, we have among others—Dramatic: Miss Pauline French, Miss Mary Norris Berry, the well-known St. Louis artist; Miss Anah Doob, Mrs. May Harding, Miss Emily Houghton. Mezzos: Miss Edna Stern, favorably known in New York State; Mrs. James D. Livingston, Miss Bertha Shalek. Coloratura: Mrs. Beatrice Flint, Miss Jane Shalek, Miss Ellen Cornell and Miss Beatrice Goldie. Altos: Miss Freda Buesing and Anna Granda, two really phenomenal voices.
75For light opera: Miss Marie Ahlers and Miss Violet Wilson. Among the male voices: Andreas Schneider, the favorite baritone; S. P. Veron, basso, now with the Rose Shay Opera company, who receives the most favorable criticisms wherever he appears; Eladio Chaó, basso cantante, who begins his career next season in Italy, and Sylvester T. Ritter, a phenomenally rich and deep basso. These young singers represent all classes of voices, fitted for the most dramatic Wagnerian roles down, through all the varying requirements, to light opera. Besides, many of these singers are trained in dramatic action at the American School of Opera. Those for grand opera are with Theodor Habelmann; those preparing for light opera are under the guidance of William G. Stewart and Mr. Hegemann. This is the report of but one studio! How much glorious talent must there be accumulated in the other renowned studios of New York, such as those of Mme. Evans von Klenner, Oscar Sänger, Madame Courtney, Francis Fischer Powers and many more, equally well known! What is to become of these voices? What chance is there in America for a well trained voice outside of the Metropolitan Opera—where they frankly refuse to engage anyone without foreign reputation. Ah, indeed—there is vaudeville or light opera or burlesque—but
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