Scan 4
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
78 lines. Read by computer on 22 September 2026. 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, | January 20, 1902.
7INDA DI CHAMOUNIX, after an absence of forty years, has returned to the Scala Theatre. Her returns to life is supposed to be due to the elixir of love, but more particularly to the ballet of love ("Amor"), in whose behalf the baby elephant did so much preliminary advertising.
9Last year's revival of Donizetti's "L'Elisire d'Amore" was very successful at the Scala; but that is hardly a sufficient reason for having Lucia's little sister Linda, graceful and tuneful as she is, come back and serve merely as a curtain raiser to the pompous and bewildering show that follows her performance at this theatre.
11To be absolutely correct, by the way, I should not say curtain "raiser" at the Scala Theatre, for the curtain is not raised, but parted and drawn—it being of dark red velvet, hanging in heavy folds, tastefully trimmed and deeply fringed with gold. This heavy portiere curtain is run apart by two men in silken hose and powdered wig, and is then caught in loops and drawn up at the sides into the wings above.
13Linda was a long time making her appearance at La Scala. The management could not permit the lady to come before the public alone—that being quite out of the question in this country, where escorts are necessary—and the elephant and company were not always prepared for public view; and, on two occasions the protagonista was announced as indisposed. At one time a dentist had to be summoned to care for the cavity of a tooth that was troubling the elephant baby; then a surgeon was called in to remove some threatening growth forming on the big baby's little toe; then we heard of various dancers striking for higher wages and better pay, and lastly, Linda herself became too ill to sing, and thus the Donizetti opera had to be postponed several times.
15When, finally, Linda did appear at the Scala, the program was as follows:
16Il Marchese di Boisfeuury…………………….Arcangelo Rossi
17Il Visconte di Sirval……………………………Emilio Cossira
18Il Prefetto………………………………………Lodovico Contini
19Antonio, affiatio, padre di Linda…………….Mario Sammarco
20Pierotto, giovane orfano saviordo…………….Elisa Bruno
21L'Intendente del frudo………………………..Carlo Ragni
22Maddalena, madre di Linda…………………..Maria Golfieri
23Linda…………………………………………….Rosina Storchio
24Maestro Concertatore e Direttore, Arturo Toscanini.
26It is true, no doubt, that last year's success at the Scala of "L'Elisire d'Amore" has brought Donizetti's music again into vogue. But in this centenary of Bellini there was the best possible reason and every opportunity for presenting one or another of that melodious master's operas.
28Even this opera of "Linda di Chamounix" was received rather coldly on the first evening, and several performances have been found necessary to warm and win the Milanese, calling for the use of opera books all over the house—so complete a stranger was she to most of the audience on her arrival this time. Now, after a half dozen or more performances they hum, sing and whistle the easily retained, ear caressing and heart pleasing melodies, especially the two principal ones, pervading the entire opera: the one associating Linda with affection for padre, madre and home; the other her love theme in connection with the Viscount and marriage.
30Undeniably true is it, however, that people go to hear "Linda" because of the big ballet that follows. At first the entire ballet was given after the opera, but this proved altogether too long a performance, and now the ballet has been divided into two parts; one night "Linda" with first part of the ballet following; on other night "Linda" with second part of ballet.
32The first entire production lasted until nearly 1:45 in the morning.
34The performance of the opera as now given at the Scala is good, but not great.
36In the first and again in the third act the chorus did very fine work; they were an evenly balanced and well trained body of singers. Especially in the last act they entered into their work with much spirit, singing all their music "con amore" and with splendid effect. There is no chorus singing in the middle act; but a great scene takes place between father and daughter, which was made much of by the baritone Sammarco and La Storchio, the soprano. The orchestra was in good shape, as it always is under Sig. Toscanini's direction; but Donizetti's melodious music and simple orchestral treatment were considered by this ever conscientious and precise conductor in a manner altogether too strict and accurate as to time, expression, light and shade effects and general conception in a word. The Italian style of music will stand such treatment even less than that of German composition—and you will remember how I complained in last week's letter against the strict and precise time keeping in the "Walküre" performance. "Linda di Chamounix" is too lightly and gracefully conceived an opera to be dealt with in such absolutely correct and flawless manner; in such schoolmasterly fashion, if not quite pedantic. Signorina Storchio as Linda showed intelligence and sympathetic insight; she was fully mistress of her role; is a clever and graceful little actress, and possessed of a naturally good voice, but which is hardly big enough for a theatre the size of La Scala. Sometimes during her earlier singing, before the voice, or rather the throat, has warmed, Signorina Storchio's efforts resemble wobbling more nearly than warbling, and it is difficult to tell whether a sustained tone is not rather an artificial trill or shake instead. Yet the quality of the lady's voice is sympathetic and herself very attractive as Linda.
38Sig. Sammarco as the father Antonio was excellent, both as singer and actor.
40Signorina Bruno has a warm contralto voice, singing and playing her part of Pierotto very well. The Maddalena, mother of Linda, was quite acceptably sung and acted by Signorina Maria Golfieri. Sig. Cossira, the tenor, pleased some, and others not. His singing was acceptable in parts, but not all of it was what it should have been, nor perhaps what the gentleman himself might wish it to be. He certainly has the best of intentions, and, as some writers would say, he means well. Sig. Rossi, though he could not pretend to sing and did not, made a capital Marchese. Sig. Contini, as the Prefetto, did his best, which was rather poor. Being unable to appear on one occasion, the gentleman's character—I should say his part or place—was taken by another basso of better singing qualities, named Sig. Dadò, who in facial expression and head make-up or wigged appearance, looked for all the world like a well-known picture of George Händel, the composer of "The Messiah" and many Italian operas that Italians never heard of.
42On the evening of Queen Helen's birthday, which was made a "Serata di Gala" at all Italian theatres, the "Linda" performance at the Scala came near being ruined by audible conversation carried on in some of the upper boxes. And later, during the ballet proceedings, revenge was taken in the highest regions, the loggione above the gallery, in yelling and shouting. There was much cheering on this particular night, with numerous demands for the "Marcia Reale," during the playing of which the conductor and every member of the orchestra (excepting the 'cellists), and all in the audience rise and remain standing. The march was called for just before the beginning of the second act, and a repetition shouted for and given.
44When the brass reinforcements of four trumpets, three trombones and English horn for the ballet music were seen entering the orchestra the wildest kind of cries, yells and shouting hurrahs again rent the air for the "Royal March." This wild, enthusiastic demonstration was continued during the performance when "bis" and "tris" repetitions had to be added (making five performances of the march) before the excited audience would permit the ballet to begin. Even during the ballet show there were some who cried: "Marcia, Marcia!"
46Such scenes in Italian theatres are really beyond description—and never to be forgotten.
48The ballet "Amor" is by Luigi Manzotti, with music by Romualdo Marenco, and reproduced at the Scala Theatre under direction of the Coreografo or Ballet Master Ettore Coppini.
50Following is the long program as short as I could make it:
52DIVISION OF PICTURES, OR SCENES.
53PART FIRST.—1. The Chaos. 2. The Creation. 3. The Torrent of Humanity. 4. First Work. 5. Temple of the Arts in Greece. 6. Amor (Cupid) and his Genii on the Road to Rome. 7. The Triumph of Julius Caesar.
54PART SECOND.—8. Festive Hall in the Temple of Venus at Rome. 9. Burning and Destruction of Rome. 10. Barbarossa's Descent on Italy. 11. The Tent of Barbarossa. 12. The Allegiance Oath of Pontida. 13. The Victory of Legnano. 14. Apotheosis of the Victory of Legnano. 15. Triumph of Amor. 16. Apotheosis.
56DISTRIBUTION OF DANCES.
57FIRST PART.
58Scene II. Variations by the prima ballerina. III. Grand ballet executed by the entire corpo di ballo in union with the solo dancer. IV. Mimic actions, with dances by the prima ballerina. VI. Grand passagio for forty-eight adult dancers and thirty-two child dancers. VII. Grand ballet and march performed by the entire mass of people.
60SECOND PART.
61Scene VIII. Pass executed by the primo ballerino, with the assistance of sixteen select ballerine. The "toast" to the gods, ballet by the corpo di ballo. Satyre and the Bacchante, characteristic pass for the two solo dancers. Bacchanale executed by the corpo di ballo. Cupid on the warpath, dancing, mimic action for the prima ballerina. La Gazzara, ballet executed by the entire corpo di ballo. XV. Amor's Triumph, grand ballet performed by the prima ballerina and the entire mass of people.
63Prima Ballerina Assoluta…………………….Giuseppina Gandini
64Primo Ballerino Assoluto…………………….Vittorio de Vincenti
65Director of Orchestra………………………..Ariodante Maj.
67The production of this ballet is on a grand scale. Originally written for the Scala, it has not been given in a number of years. Though written and composed by the authors of "Excelsior," well known in America, it has little or no plot to govern the scenes. It may be termed a pot-pourri, or mélange, of show, pomp and glittering brilliancy; there are marches and processions, fights, battles and bewildering dances. Both solo dancers are among the very best known and did a lot of fine stepping, turning and high jumping; the sixteen ballerine were mostly pretty girls and well shaped, besides being good dancers. The music calls for no particular comment. It may be said to be melodious throughout, serving its purpose in front of and upon the stage, in the marches, &c., admirably, effectively; but there is also some of the commonplace in its composition. Still, it is all right in its place.
69The elephant, over whose advent there was so much ado, proved to be a "baby" animal only and a disappointment to the audience. There is but one chance given him during the evening in the seventh scene, "The Triumph of Julius Caesar," when he is seen in the procession coming down the right side of the stage, crossing (without bowing to the audience) and passing up the left side and off again. He is led in like a slave or prisoner—not gayly festooned, garlanded or decorated in any way—and but for the sharp lookout for his appearance he might have passed unnoticed. A fine looking white bull, with golden horns, caused the poor little elephant to look very dark, gloomy and sad. Could his musings have been translated they must have read: "What fools these mortals be!" I thought the baby elephant's expression of face said as much.
71To have invested the 6,000 or 7,000 lire, the price which is said to have been paid for this elephant, in securing better talent among some of the solo singers at the Scala might have proved a safer and wiser speculation. At least, it would seem so.
73The Fratelli Gondrond, with offices here in the Vittorio Emanuele Galleria, have taken charge of the advance sale of tickets for the Scala Theatre, and believe they have found a scheme by which to lessen ticket speculating, if not entirely to prevent it. Thus far, they declare their plan to have succeeded admirably. The purchaser is permitted to reserve or secure seats for himself or family only. Upon payment of the price of ticket or tickets, to which is added an extra charge or commission of 10 per cent., a receipt is given for the amount so paid, and indicating in what part of the house the tickets are intended or call for, together with the date of performance; but the numbers of which are selected or filled later by the Scala management according to rotation or order of priority. A duplicate of this numbered receipt given the purchaser, bearing his name, address, amount paid, date of performance, &c., is retained by the agents, the Gondrond Brothers, and on the day of the performance, between two and three hours previous to the commencement of the opera, the tickets for reserved seats are delivered at your address by special messenger in a sealed envelope—too late for speculating purposes, but in time for your own personal or family use. These advance seats cannot be reserved or engaged at the opera house, but must be obtained from these specially authorized agents—and from no one else.
75The death is just announced at Rome of Maestro Filippo Marchetti, composer of the successful opera "Ruy Blas" and director of the Academy of Santa Cecilia and the Conservatory of Rome.
77Filippo Marchetti was born in the year 1831 and died January 18, 1902. He was an excellent musician and the composer of the operas "Gentile da Varano" (for which his brother wrote the libretto), "La Demente," "Romeo e Giulietta" and "Ruy Blas," which latter will always re-
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