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Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
64 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1MILAN
3The Musical Courier will be found on sale hereafter at the music house of Carisch & Jänichen, in the Corso Vittorio Emanuele No. 2, which is near the Duomo and the Galleria.
5CORSO VENEZIA 65, MILAN, ITALY,
6December 6, 1901.
8"HOPIN" last evening had another great and very largely attended reception at the Lirico Theatre—the fourth since he arrived there.
10Many were the praises heard last night in honor of his fine appearance, splendid health and robust, manly voice—his cough, his sighs and that melancholy, "oh, so tired!" expression of face, having almost entirely left him. Chopin, on this occasion, was presented by the tenor Borgatti (creator of the role) quite like an Italian—for the most part forgetting his hero's characteristics, all of which he had studied and maintained with such care and exactness on his first appearance.
12During the first presentation or two Borgatti remembered and preserved his "Chopin character," even when acknowledging applause from the immense audience. Last evening, however, he came before the curtain wreathed in smiles, with beaming face and waving his hand in kiss-throwing fashion, besides giving other signs of recognition to friends in the house, particularly in two of the boxes. This was very noticeable, conspicuously so, after the great scene of sorrow and grief over the loss of little Grazia, in the finale of Act III. And again, following the scene of Chopin's death in the fourth act, after the curtain has been lowered.
14As an actor Borgatti was more at his ease last evening and pleased some of his friends better—but to me he was less "Chopin."
16In the first act, as a youth, pensive and dreamy, with a sad little cough—not a strong lad, you would say—Borgatti's strong, healthy looks; his robust, lusty, Siegfried-like voice rather belied the "Chopin" he was portraying.
18At the close of this act, in the duet with Stella, Borgatti brought down the house in an outbreak of applause, with a vocal effect such as never fails to win approbation in Italy—the effect of voice opening upward, or of a crescendo broadening downward, both portamento assai—a la Tamagno and Scalchi, for instance. The storm-of-applause-provoking effort last evening was accomplished on the words "sei tu" (art thou) in the phrase, "El l'Angelo sei tu," which is found in the libretto, but not in the very attractive, olive-colored score just published, with American copyright, registered or entered by Edoardo Sonzogno at Washington, D. C. Other favorite effects indulged in last evening were the arrest or hold-up of the conductor and his orchestra by the singer, on a high or big tone, and not deigning to come off or down from his effect-making perch until good and ready to do so—and then jumping at, rushing and crowding, stampede fashion, a passage on the downward run from the highway, or perch, just held.
20All this was most un-Chopin-like!
22In the second act the tender, charming, beautiful love scene between Chopin and Flora was entirely overdone by the tenor (by which I mean done too much, not too well). The actions accompanying this part were overacted—so broadly and visibly portrayed that nothing remained for the imagination of the spectator; but—the audience comprehended magnificently! Some people may like their thinking done for them by others—but I prefer the play of my own imagination. Much of the charm and tenderness, the exquisite loveliness of this scene, was lost in consequence.
24I could not help thinking with what delicate grace and poetic charm a certain other tenor, well liked and appreciated, even idolized, at the Metropolitan Opera House in New York, would have interpreted this scene. But then this is Milan, not New York; and I know full well that Jean de Reszké would not be received here with that warm and sympathetic approval that it is his good fortune to command in America. In vocal style he would not be counted an "Italian" tenor at all—but he is a great, a wonderful artist none the less! His high aiming, ideal work is above praise, as it is beyond cavil. There may be others with better, greater voices than his; but few, if any, more consummate artists than is Jean de Reszké.
26Flora, in the hands of Signorina Cesira Ferrani, was a sweet and lovable creature; a dainty, graceful, blooming flower, full of tenderness and love beautifully expressed. Her sweet face and speaking eyes; her soft and sympathetic touch; her kindly, affectionate, winsome manner; her many caresses; her kisses—all must have been exceedingly agreeable and comforting to Chopin; while he— folding her in his arms, drew her so tightly (not fondly or closely, but tightly) to his breast—so vehemently as to smother at least, if not to crush, this sweetly tender Flora as she appeared at the Lirico. Their singing in the love scene was fine and called for a repetition, which was granted.
28Just as I expected and hinted in last week's letter, there are already some in the audience indulging in humming and soft singing as an accompaniment to the artists upon the stage. This I always find annoying; but "Chopin" is melodious, and the Italians cannot help being tuneful!
30Chopin's great monologue in the third act was somewhat differently conceived by Borgatti last evening. The hallucination scene was quite overacted—very much exaggerated. He seemed this time, however, to comprehend better the full meaning of the terrible storm. (Had he witnessed Grazar's impending danger, without the presence of mind to save her, or call to the fishermen?) Having fallen to the floor in helpless despair, quite exhausted and faint, after his hallucinations and dreadful fancies, he lies there broken, in a heap, unable to rise, and cries: "Ahime! non posso" ("Alas! I cannot"); which, last night, produced a stronger effect than in the earlier performances. His high B flats were fairly hurled at the audience and caught by the high note loving ones with great joy and satisfaction, but immediately crying "bis, bis," for more! The lament (Nocturne, op. 48, No. 1) over the dead body of little Grazia was as efficacious as on the night of first performance, but was worked up to a climax of even greater, more grandioso proportions and effect, chorus and orchestra here combining in fullest force, which, after one prolonged measure of death-like silence, is finished in a hushed, a sotto voce prayer.
32The fourth act death scene was about the same as on the first night's performance, except that Chopin seemed weaker—and the audience more ready to have him expire!
34Though this new opera may fairly be called a success, and the Italians like the Chopin melodies (is there any music lover who does not like Chopin?), still this does not alter my position or change my opinion in the least, not one iota, regarding its existence. My previously expressed ideas on the subject, the questionable taste and reason for making this Chopin opera—in a word, its raison d'être—all hold good. Chopin, with his own music as an opera, originally struck me quasi as a sacrilege, a profanation, and so it has remained in spite of my love for the and appreciation of the poetic text.
36Thus far the operas promised at the Lirico Theatre for the autumn season have all been produced, namely, "Sanseone e Dalila" (Saint-Saëns), "Werther" and "Cendrillon" (both Massenet), and "Chopin," by Orvieto and Orefici. one of two readings
37Thus far the operas promised at the Lirico Theatre for the autumn season have all been produced, namely, "San- sone e Dalila" (Saint-Saëns), "Werther" and "Cendrillon" (both Massenet), and "Chopin," by Orvieto and Orefici. one of two readings
39To-night will be offered as an agreeable surprise and addition Massenet's "Safo," with Gemma Bellincioni in the title role, which she created for Italy some three or four year ago, a singer who is at all times a splendid actress, and of whose excellent performances in the characters of Sapho, Fedora, &c., I have written THE MUSICAL COURIER on previous occasions.
41At the Theatre Dal Verme the three operas promised for the Grande Stagione d'Autunno, "La Tosca" (Puccini), "La Forza del Destino" (Verdi), and "Lohengrin" (Wagner), have also been given, and are now having repetitions. The first of these has been the better performed, though all three were successfully brought out and largely attended by enthusiastic audiences always top heavy, as there is an immense sized gallery to accommodate them at this theatre.
43The "Cartellone" of the Teatro alla Scala, the bill of particulars or official program, has been issued, announcing the names of the singers who are to take part during the approaching stagione. THE MUSICAL COURIER has already published a complete list of operas to be given at this house during the winter beginning December 26. Since then the Ballet "Amor" has been added, and in connection therewith occurred an unusual scene in Milan one day recently provided by a runaway elephant. The ponderous animal arrived by train from Paris to fulfill an engagement to play a minor part in this "Amor" Ballet to be produced at the Scala. As soon as he emerged from the station, the elephant gazed in bewilderment at the traffic, but he was more particularly dismayed by the electric tramcars and their noisome gongs. He fled in terror, overthrowing carts, carriages and everything that came in his way. After seriously damaging the lodge of a palace, which he made an attempt to enter, the terrified animal was captured by the police and some workmen. His hotel apartments for the winter will be at the Scala under the stage, when not engaged upon it.
45Speaking of the Scala reminds me that Fratelli Treves of Milan will publish a special holiday number of the Illustrazione Italiana (a weekly periodical), dedicated to the Scala Theatre, with text by Achille Tedeschi and illustrations by A. Ferragutti, E. and F. Mantania; the price will be 3 lire.
47At the "Salone Perosi," the new concert house, formerly a church, the last "executions" of Abbé Perosi's "Moses" were given to full houses at reduced prices; and a "very" last performance, the ninth, had to be arranged to accommodate all desiring to attend.
49Seated next to me at one of these concerts was a little priest whom I might easily have mistaken for Don Lorenzo himself—had I not known Perosi so well at Venice some three years ago—so much did he resemble him. Having fallen into conversation, my young priestly friend volunteered the information that "il Maestro" (Perosi) had bought himself "un casinetto di campagna," a little country house, near Buggiano in the woods of Tuscany—simply because he is so fond of the railroad. How is that? I naturally inquired. "Do you know" (he explained that Perosi had said), "do you know, those telegraph wires, one above the other, outside my little window, remind me of a musical staff; and I, in traveling to and from my casinetto, can divert and amuse myself by affixing notes to them." "For which," continued my newly found friend on his own account, "the railroad be blessed, in spite of its disagreeableness; and blessed above all for its slowness, the tortoise, snail-like pace of our trains, which permits the 'Maestro' to attach so many, many notes to those wires."
51By the way, Perosi has just completed a "Stabat Mater" and a fugue. Before writing "L'Apocalisse" he intends to write "The Death of Moses."
53At Rome, in the Costanzi Theatre, on November 29, a commemoration of Bellini's centenary was held. While this was three or four weeks later than the 3d of the month, the date of Bellini's birth, it expressed, nevertheless, more reverence for the dead composer than was shown him in most of the other Italian cities.
55The celebration was arranged under the auspices of the Society of Dramatic Authors of Rome, whose president, Prince di Scala, delivered an address. There were several selections of Bellini music played by the orchestra, under direction of Maestro Scontrino; and Gabriele d'Annunzio recited his great ode of many verses in honor of Bellini—published in its entirety by the Tribuna of Rome, a copy of which is inclosed to you herewith.
57Present among the audience were the Ministers Zanardelli, Nasi and Prinetti; the great actresses Adelaide Ristori (now nearly eighty years old) and Eleanora Duse.
59After the production and performances of "Francesca da Rimini" at the Costanzi Theatre, immediate preparations will be made for the carnival season of opera. The repertory will include "I Maestri Cantori" ("Meistersinger"), never before heard in Rome; "La Favorita," "La Bohème," "I Puritani," "Il Trillo del Diavolo" (Falchi), "La Tosca" and "Iris." Edoardo Vitale is to be the conductor.
61In the spring following Perosi's "Moses," with the Milanese baritone Sammarco, will be given there.
63Living in Rome, about four years ago, I remember well repeated attempts and efforts that were made to acquire the fine Borghese Picture Gallery for America; but not one painting could Prince Borghese dispose of without the consent of the Italian Government, which, however, he could not obtain. Now the Italian Chamber has passed a bill of great artistic importance by allowing the appropriation of 3,600,000 lire for the purchase of this splendid Borghese collection, which is the most important private one existing in the world, and is surpassed only by that in the Vatican Museum. It contains most of the famous pictures by Titian, Correggio, Botticelli, Perugino, Filippuccio and Raphael. The whole collection has been valued at the low figure of 10,000,000 lire. It is stated that Prince Borghese has proposed to the Government that he would give them for nothing the whole collection, with the exception of the "Sacred and Profane Love," by Raphael, if he were allowed to sell the latter picture
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