Scan 26
Musical Courier 1902-02-19: Vol 44 Iss 1143, 1902
60 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1ated engagements in the provinces, their salaries were stopped. As for the idea of cancelling the contract, he could not think of it, as at present the singer was absolutely necessary to him for "Carmen," "Orphée," "Le roi d'Ys," &c.
3In Paris many streets are named after distinguished men. It is stated that one will be shortly called Rue Richard Wagner. The request has been already presented to the municipal council, to be decided on at its next session. Since 1876 the date of the inauguration of the Opéra, it appears, according to the Figaro, that the greatest success, and the work that has achieved the greatest average of receipts, has been "Tannhäuser." If this is so, the record surely merits a street named after the composer to whom it is due.
5PARIS, FEBRUARY 14, 1902.
7The study of the symphony in France as compared with its growth and progress in other countries was the task that was proposed this season at the Colonne concerts. It was intended that two symphonies should be performed at each concert; one by a native, the other by some contemporary foreign composer. In order to follow the history of the symphony, the different stages and transformations it had undergone during 150 years, M. Colonne had chosen twenty-four composers to represent the tastes and tendencies of their epoch. He had also arranged for twelve concerts, at which, following a chronological order, two symphonies should be given: one French, the other German or Russian.
9This scheme has had, however, to be considerably modified, owing to the success of certain works brought forward, and which necessitated their repetition. Also the plan was still further disarranged by the three consecutive performances of the "Damnation de Faust," by Berlioz. Again it has been found that to give two symphonies and two concertos at the same concert was not only to exact too much from the members of the orchestra but to run very serious risk of exceeding the degree of patience and attention possessed by a Parisian audience.
11At the beginning of the season there was not much danger of this latter, seeing that the symphonic works of the earlier period were of very moderate length. They dated from a period when music was considered merely as an amiable and pleasant diversion. In the course of time, however, the symphony grew to much greater proportions. Considered as the most noble and severe form of musical art, it grew to such dimensions as to exact the utmost and sustained attention on the part of its auditors. In the interest of the public, therefore, the conductor of the Colonne concerts has arranged to continue the study of contemporary symphonic works, not by placing two parallel works on the same program but by making the comparison from one concert to the other.
13At the last Colonne concert I heard for the first time an exceedingly clear, bright, well-scored symphony in F, by Léon Boelmann. This composer had something to say, and knew exactly how to say it. Charming themes, abundance and variety in their developments, with great clearness in the orchestration.
15The form had also something novel, the second movement being a broad melody played by all the violins in unison on the fourth string, followed by variations for the complete orchestra, and the last movement being in the form of a recitative with finale.
17A young singer—Mme. Ida Ekman, from Finland—made somewhat of a sensation by her first number, an air from one of Händel's earlier operas, "Xerxes," known better as the Largo. It was not that this singer had exceptional vocal gifts. The voice was pure and of good quality, without being remarkable. But the audience was so surprised at hearing the broad, beautiful melody interpreted by someone who knew how to sing that it broke out into a storm of applause at the end of the first movement. It came as a revelation, this old style of cantabile, after the jerky, spasmodic manner of the present so-called declamatory singers to which we are nowadays accustomed.
19Gabrilowitsch was again the solo pianist, presenting a very admirable interpretation of Schumann's Concerto in A minor. The beautiful second movement gained for this clever young player much enthusiasm. He has been very successful in Paris, the recitals he has given at the Salle Erard being followed with the greatest interest by the piano enthusiasts, artists and amateurs.
21Chevillard has given at the Lamoureux concerts the Dante Symphony, by Liszt, which had such a success that it was repeated the following Sunday. Paul Kalisch, the German tenor, was one of the vocalists. The critics found his voice worn, his style not good; but give him great credit for his sincerity, earnestness and other serious qualities. An extract from a new work by Sylvio Lazari, written in an ultra-Wagnerian style, was also given, and evoked a good deal of enthusiasm.
23At the Opéra "Siegfried" is still being performed twice and three times a week to large audiences, and with the same cast as I have already given. There are to be five more performances of this work, with Jean de Reszké as Siegfried, after which he leaves for a short season at Monte Carlo. On his return on March 25 he will sing in several performances of "Roméo," "Prophet," "Lohengrin" and "Faust."
25Madame Acté, who has been a long time absent from the Opéra, made her reappearance last week as Marguerite in "Faust," and met her usual success. "Orsola," the new opera by the brothers Hillemacher, is in rehearsal, and is expected to be produced the first weeks in April. The roles have been distributed to Mesdames Acté and Héglon, Messrs. Delmas, Vaguet, Noté, Laffitte, &c. A revival of Meyerbeer's "L'Africaine" is also to be given, with new scenery and costumes. This will take place February 20. one of two readings
26Madame Acté, who has been a long time absent from the Opéra, made her reappearance last week as Marguerite in "Faust," and met her usual success. "Orsola," the new opera by the brothers Hillelacher, is in rehearsal, and is expected to be produced the first weeks in April. The roles have been distributed to Mesdames Acté and Héglon, Messrs. Delmas, Vaguet, Noté, Laffitte, &c. A revival of Meyerbeer's "L'Africaine" is also to be given, with new scenery and costumes. This will take place February 20. one of two readings
28Program for the week: Monday, "Faust"; Wednesday and Friday, "Siegfried."
30At the Opéra Comique, "Grisélidis" by Massenet, is the principal attraction, with Mlle. Cesbron, who replaces Mlle. Bréval, in the title part.
32Program for the week: Monday, "Mignon"; Tuesday and Saturday, "Grisélidis"; Wednesday, "Manon"; Thursday, "Le Juif polonais"; Friday, "Lakmé."
34"Grisélidis" has been produced at Nice, and met with much success. "Les Barbares" has also met with a favorable reception at Lyons.
36The eleventh concert of the New Philharmonic Society brought forward the Frankfort Trio, a really excellent organization, and Marie Bréma, re-engaged on account of her success at the preceding concert. Program made up principally of Brahms and Beethoven, very excellently sung and played.
38A remarkably good impression was made on a large audience by a young and very charming soprano singer, Mlle. Yvonne de Tréville, who is, I believe, in spite of her name, of American birth and parentage. The great scene from Thomas' opera of "Hamlet" ("Air de la Folie") was given with such a really beautiful quality of voice, combined with a secure and firm virtuosity, as to evoke a demonstration from a somewhat critical Parisian audience, accustomed to hearing this number by the first singers of the day. A very capable and experienced music critic told me that he never remembered to have heard the scene better sung. The applause was so pronounced that after several recalls Mlle. de Tréville had to give an encore—"Chanson Provençale," by Dell' Acqua. It is somewhat rare to find, as is the case with this young artist, a remarkably pure voice combined with such warmth of temperament. Besides an air from "Louise," Mlle. de Tréville gave the popular song, "Toujours," by S. B. Schlesinger, which was encored. Mr. D'Hubigné in several tenor arias and the duet from "Roméo" displayed an excellent voice, with very good taste and style. I believe Mlle. de Tréville is engaged for a tournée of French opera in Spain, where she will sing in "Mignon," "Mirlie," "Le Roi d'Ys," &c. one of two readings
39A remarkably good impression was made on a large audience by a young and very charming soprano singer, Mlle. Yvonne de Trévile, who is, I believe, in spite of her name, of American birth and parentage. The great scene from Thomas' opera of "Hamlet" ("Air de la Folie") was given with such a really beautiful quality of voice, combined with a secure and firm virtuosity, as to evoke a demonstration from a somewhat critical Parisian audience, accustomed to hearing this number by the first singers of the day. A very capable and experienced music critic told me that he never remembered to have heard the scene better sung. The applause was so pronounced that after several recalls Mlle. de Trévile had to give an encore—"Chanson Provençale," by Dell' Acqua. It is somewhat rare to find, as is the case with this young artist, a remarkably pure voice combined with such warmth of temperament. Besides an air from "Louise," Mlle. de Trévile gave the popular song, "Toujours," by S. B. Schlesinger, which was encored. Mr. D'Hubigné in several tenor arias and the duet from "Roméo" displayed an excellent voice, with very good taste and style. I believe Mlle. de Trévile is engaged for a tournée of French opera in Spain, where she will sing in "Mignon," "Mirlie," "Le Roi d'Ys," &c. one of two readings
41The season of opera at Monte Carlo has just commenced with a performance of "La Vie de Bohême," by Puccini, with Mmes. Melba, Boyer, Messrs. Caruso, Soulacroix and Boudouresque.
43Huguenet, a popular actor of Paris, is in treaty with the Comédie Française, which theatre is anxious to secure his services. These are his conditions: A fixed yearly salary of 12,000 francs ($2,400); a share of the profits, which would never fall below 12,000 francs, and which has risen in some profitable years to 40,000 francs; also 5,000 francs for personal expenses, and, lastly, a month's leave of absence, during which Huguenet is engaged for performances at Monte Carlo, at a salary of 500 francs per night, or 15,000 francs for the month. The total of this would make, at the lowest calculation, a minimum of 44,000 francs, or $8,800 per year, which shows that it pays to be a popular actor in Paris.
45An interesting article has appeared by Eugène d'Harcourt, the well-known musician and critic, on the Wagnerian influence as manifested and affirmed by the triumph of "Siegfried" in Paris. Speaking of the public taste, he says: "Its education commenced forty years ago by the immortal Pasdeloup will shortly be completed. If many traces of snobbery still exist, they will shortly disappear, and the great public will discern the good from the bad, that which is wise from that which is childish, what moves one from what simply astonishes, and eventually will exact an art healthy and wholesome. It will speedily tire of misery, of which one commences already to be satiated; of pictures impossible to represent in music, because it is music and not painting; of philosophy that is attempted to be taught through sounds; in short, of all the follies that one hears constantly whether in concert rooms or the theatre.
47"This great public will eventually demand that music shall speak simply its own language and charm and interest by its own art alone." He adds: "Musicians can now proceed and utilize the material accumulated for centuries, and continue to follow the ancient theories without fear of routine or pedantry. We shall find also a musical compromise between opera and symphony, and our ideal will be an alliance between the line of ancient masters with the discoveries of our modern polyphonists."
49DE VALMOUR.
51JAN KUBELIK
52THE BOHEMIAN VIOLINIST.
54Management of DANIEL FROHMAN and HUGO GORLITZ.
55(H. G. SNOW, Representative.)
57Business Address: Daly's Theatre, New York.
59Wissner Piano Used.
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