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Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
96 lines. Read by computer on 23 September 2026. Printed page 27. See the scan on archive.org.
1ESTHER PALLISER.
3ONE of the important announcements of the present musical season was the return of Miss Esther Palliser to her native country. Many Americans who have visited England know all about the success of that singer over there. Artistically and socially her career abroad has been a series of triumphs. But, like all good Americans, Miss Palliser desired to see her old home again and renew the friendships she formed when she sang here, a very youthful artist in light opera roles. From Gianetta to Aida shows great advancement, and all of this and more Miss Palliser has accomplished in the years since she was heard in New York. It is not alone, however, in opera that Miss Palliser has made a stir across the water. In oratorio and as a singer of classic songs there is probably no woman singer in the United Kingdom to-day who outranks her. She is an artist of wonderful versatility. Possessing a voice of unusual range and timbre, she is enabled to undertake parts denied to many sopranos.
5Miss Palliser, whose real name is Walters, was born in Philadelphia, or rather in the pretty Philadelphia suburb, Germantown. She inherited musical talent from both parents. Her father is a prominent teacher of voice production and her mother a singer of repute. In infancy Miss Palliser showed musical talent that astonished her parents and their friends. Her father became her first teacher and to this day has retained full charge of her voice. As a young girl she made a reputation singing at concerts and in church choirs. When she was seventeen years old Miss Palliser accompanied her father to Europe. The young girl was taken to Paris and there she studied for several years, principally with Mesdames Viardot and Marchesi. Her début in opera was made at Rouen, in the part of Marguerite in "Faust." The report of a successful operatic début spreads quickly in Europe and thus Miss Palliser's friends were not surprised to hear that soon after her first appearance in the French town immortalized by Jeanne d'Arc she was engaged to create the role of Rowena in Sir Arthur Sullivan's "Ivanhoe." Soon after she sang the part of Marie in "The Basoche," by André Messager. Step by step the young singer was advanced, and in time she joined the Carl Rosa Company. It was in the role of Santuzza that Miss Palliser won recognition in England as an operatic artist of rare power. Aida and Elsa were soon added to her repertory. Then came her engagement at Covent Garden, where she appeared as Brangane in "Tristan and Isolde," and in a number of other roles. Here again were evidenced her versatility and the range of her voice. And still more evidence of these gifts was given when Miss Palliser sang the part of Michaela in a performance of "Carmen" before Queen Victoria at Windsor Castle.
7In oratorio as in opera Miss Palliser stands at the top in England. "The Messiah," "The Creation," "The Redemption," "Elijah" and many others are in her repertory. She has sung with brilliant success to overflowing audiences at the music festivals in Leeds, Birmingham, Worcester, Chester, Bristol and North Staffordshire. Her song recitals are musical events in London. In Albert Hall Miss Palliser sang for seven consecutive seasons the soprano solos in "The Messiah," with the Royal Choral Society. The English public are cordial to Miss Palliser, a singer with a noble voice unimpaired and an artist approaching the zenith of her dramatic and intellectual powers. Miss Palliser sings equally well in German, French and Italian. One writer in England described the carrying quality of her voice as something quite phenomenal. Miss Palliser has sung at the Crystal Palace, an auditorium that seats 35,000 people, and her voice filled the vast space without the least strain. Miss Palliser was the first artist to give a recital with a program devoted entirely to the songs of women composers.
9Of German, French and Welsh ancestry, Miss Palliser may have her forefathers to thank for the number of her talents. She loves work above all things. Abroad Miss Palliser is known for her love of antique furniture and jewels, and as a collector of both she has been very fortunate. Many of Miss Palliser's countrymen will recall her marvelous achievement of singing on Mont Blanc. But with all that has been said and written about her, Miss Palliser comes back to us unspoiled by her fame and the adulation of hosts of admirers.
11Miss Palliser's opera repertory includes some thirty roles, and she sings all of the oratorios that are produced in this day.
13Some of her important London criticisms follow:
15"Tristan und Isolde" at Covent Garden.—There was no question as to the excellence of Miss Esther Palliser, who not only far surpassed all her former efforts, but proved herself an almost ideal representative of Brangane, singing and acting with unexpected power and in altogether admirable style.—The Times.
17By far the most acceptable impersonation was that of Brangane by Miss Esther Palliser. The young artist not only sang delightfully, but displayed unlocked-for qualities as an actress, her "business" being invariably appropriate, graceful and winning. A better representative of Isolde's handmaid and companion could not be desired.—Standard.
19Miss Palliser's first appearance in the exacting role of Marguerite was crowned with genuine success. The higher notes of her voice are of exceptionally fine quality, and she employed them artistically, never allowing earnestness to degenerate into mere vehemence, and always singing in tune.—Globe.
21Since Miss Palliser made her début at the Royal English Opera House, scarcely two years ago, she has won for herself a position in the front rank of our dramatic sopranis, and with each fresh assumption Miss Palliser seems to improve upon her last.—Sunday Sun.
23The repetition of "Faust" last Saturday evening was interesting, on account of certain unfamiliar features in the cast. Miss Esther Palliser has followed up her success as Brangane by an embodiment of the most important part of Marguerite, still more noteworthy for girlish grace and vocal excellence. It was throughout an example of the art which conceals art, and though perhaps not dramatically powerful was certainly one of the most charming impersonations ever witnessed.—The Athenæum.
25The success of the evening was perhaps the Brangane of Miss Esther Palliser, who by her impersonation has considerably enhanced her reputation. Both in singing and acting she was almost ideal, and it is not saying too much when we express our doubt that even Bayreuth could furnish a better Brangane.—Pall Mall Gazette.
27The bright feature in the performance was the Brangane of Miss Esther Palliser, who not only acted with intelligence and spirit, but sang her part accurately, and with an abundant power and even brilliancy.—Daily Graphic.
29On Saturday night the announced performance of "Othello" was put off on account of Madame Melba's indisposition. "Faust" was given in its place, and the occasion was one of very considerable interest, owing to the charming impersonation of Marguerite by Miss Esther Palliser. This young artist's lovely voice is now used with the utmost skill, so that every note she utters makes its full effect. The hearty and sincere applause which greeted her refined singing of the "Jewel Song" was all the more valuable, since the audience was a remarkably discriminating one.—The Times.
31Gounod's "Faust" evidently gave a large amount of satisfaction to the audience. Its interest centred in the impersonation of Marguerite by Miss Esther Palliser, and it may be said at once that the young American artist has taken another upward step in her career. Her embodiment is marked by extreme girlishness, which is, of course, in itself a charm, but it has also higher qualities. Throughout Miss Palliser sang the music with delightful purity of style and intonation, and her acting, if not powerful, was noteworthy for intelligence, care being evinced in many apparently trifling matters of detail. Rarely has an assumption more winning and sympathetic been witnessed on the Covent Garden stage.—Standard.
33FOUR NEW SONGS.
34Poems by Sidney Lanier, Music by Harriet Ware.
351. "Rose Moral No. 1." 3. "Music Is Love."
362. "Rose Moral No. 2." 4. "Song of the Future."
37"ROSE MORAL No. 1."
39THIS is a fine little two page song, in D flat, beginning with Venusberg-like harmonies, with interesting modulations and sustained chord accompaniment throughout. The compass is from E to F, and it is dedicated to the well-known tenor of the Fifth Avenue Presbyterian Church, Edward Strong. The text:
41Soul, get thee to the heart of yonder rose:
42Hide thee there—
43There breathes the meditations of thine art,
44Suffused with prayer.
45Ah, dear, my rose, good-bye, good-bye,
46The wind is up, so drift away,
47That songs from me as leaves from thee may fly,
48I strive, I pray.
50"ROSE MORAL No. 2."
52This song is also short, with a running figure accompaniment to the first verse, chords alone to the second. The melody has swing in it, compass F to F, the words as follows:
54Would that my songs might be
55What roses make by day and night,
56Distilments of my clod of misery into delight.
57Soul, couldst thou bare thy breast
58As yon red rose and dare the day,
59All clean and large and calm with velvet rest?
60Say yea, say yea.
62"Music Is Love."
64An impassioned love song, in D, with effective harmonies, with a fine interlude, followed in the second verse by a rushing chord accompaniment, reaching a climax at the finish on a sustained D. The compass is D to F sharp; the text:
66Yea, Love! Sole music, master-blest!
67Love alone can do, and ever
68Love hears the poor folks crying,
69And ever Love hears the women sighing,
70And ever sweet knighthood's death defying,
71And ever wise childhood's deep implying.
72And yet shall Love himself be heard,
73Though long deferred.
74O'er the modern waste a dove hath whirred,
75Music is Love in search of a word.
77"Song of the Future."
79Here is a song with an arpeggio accompaniment of rich harmony, telling melody, ranging from C to F (G). Much of its effect lies in the piano part, which is not easy. It is dedicated to Mrs. Minnie Fish Griffin, the Chicago soprano. The text:
81Ark of my hopes, Ark of my dreams,
82Sail lordly o'er the drowned past,
83Sail glittering through the sun's strange beams,
84Sail fast, sail fast.
86My heart is beating hot with haste,
87I'll loose me a bird upon this waste,
88Go, trembling song.
89And stay not long, O stay not long:
90Thou'rt only a gray and sober dove,
91But thine eye is faith and thy wing is love.
93The four songs are issued separately, obtainable at leading music stores.
95MENDELSSOHN TRIO CLUB CONCERTS.—The Mendelssohn Trio Club will give their next concert at the Hotel Majestic Tuesday afternoon, January 7. Mrs. Rollie Borden Low, soprano, will be the assisting artist. Charles Gilbert Spross, the pianist of the trio, and Victor Sörlin, the 'cellist, will play a beautiful sonata by Rubinstein. The trios to be played will be the Beethoven, op. 1, No. 3, and the Arensky in D minor. Mrs. Low will sing two groups of songs.
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