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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 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 27, 1902.
7"PAGLIACCI" and the "Cavalleria Rusticana" were chosen to reopen the Teatro Lirico Internazionale a week ago for a short season of about a month's duration. These two operas of Ruggero Leoncavallo and Pietro Mascagni, respectively, were presented in the above mentioned order, which has long since been found to be more effective than in reversed order. The cast for "Pagliacci" was: Canio, E. Engel; Tonio, B. Dadone; Silvio, G. Giovanelli; Arlecchino, G. Fattorini; Nedda, E. Cavalieri.
9Nedda being the only female character in this very serious comedy, a story bordering on farce with a terrible tragic ending, I may be permitted to speak of the lady's performance before she is stabbed to death by her jealousy crazed spouse. Canio's betterhalf, beloved of Silvio and desired by her husband's mountebank partner Tonio, spurns the advances of the latter, who revenges himself by disclosing to Canio his wife's little affair with the young chap Silvio. Failing to obtain the name of Nedda's clandestine lover, her husband becomes wildly infuriated, mad in brain and heart, with a thirst for human blood that naught else can quench, and in which madness he has been counselled and abetted by his false friend Tonio, who fairly gloats over the mischief he has wrought.
11Signora Cavalieri, as Nedda, was a lady tall, slender and pretty faced, with jet black hair and sparkling dark eyes; with arms, shoulders, bosom, of fresh snow whiteness, chaste and cold as marble; indeed, like a statuesque beauty. Not at all arch or coquettish was this Nedda; not a bit gay, flirty or winsome. Though her smiles were becoming and lighted up the lady's features, all of which were regular and good, there was wanting in the face an expression of something that was lacking—soul, feeling, life! A few measures, or even accents, touches of a Carmen-like nature, would have made it clearer how three men could lose their heads and, presumably, their hearts and souls (if they had any to lose) over so cold though pretty a Nedda. As a singer, Nedda did very well when not trying her strongest tones, which struck the listener's ear below pitch; her softer singing was quite acceptable and at one time I really had hopes of hearing her voice warm and wax caressing, but I was wrong; and yet do I believe such a voice could be coaxed from the lady's shapely throat were there sufficient cause or attraction to excite her imagination and set her soul aglow. one of two readings
12Signora Cavalieri, as Nedda, was a lady tall, slender and pretty faced, with jet black hair and sparkling dark eyes; with arms, shoulders, bosom, of fresh snow whiteness, chaste and cold as marble; indeed, like a statuesque beauty. Not at all arch or coquetish was this Nedda; not a bit gay, flirty or winsome. Though her smiles were becoming and lighted up the lady's features, all of which were regular and good, there was wanting in the face an expression of something that was lacking—soul, feeling, life! A few measures, or even accents, touches of a Carmen-like nature, would have made it clearer how three men could lose their heads and, presumably, their hearts and souls (if they had any to lose) over so cold though pretty a Nedda. As a singer, Nedda did very well when not trying her strongest tones, which struck the listener's ear below pitch; her softer singing was quite acceptable and at one time I really had hopes of hearing her voice warm and wax caressing, but I was wrong; and yet do I believe such a voice could be coaxed from the lady's shapely throat were there sufficient cause or attraction to excite her imagination and set her soul aglow. one of two readings
14Signor Engel was a resolute, blond haired Canio. A forceful, terribly real actor with nothing imaginary about his performance. Perhaps this awful realism on his part was the cause of poor Nedda's whiteness! Chi lo sa? His behavior was so frightfully earnest that, had not all the story's action been so rapid in succession, Canio must have terrified himself. As it was, there was no time to see, hear, or think of self, and he was driven on by the one, fixed idea of which he was obsessed. Signor Engel's singing no longer has the ring and charm of youth's metallic voice, except in some of his higher tones, which he used with telling effect. His middle voice seemed too ripe and mellow for such energetic work as his nature and temperament demanded and forced from it. Why the gentleman persisted in crooking or pulling his mouth to the left was something I couldn't ascertain.
16Canio in this case, be it said to Signor Engel's credit, as it is observed so little upon the Italian operatic stage, was the one singer in the cast, and of the evening, who sang to the person he was addressing and not across the footlights to the audience instead, as most Italian singers generally do. Signor Dadone invested his Tonio with a big and round toned voice, whose singing before the curtain was, and deserved to be, bissato-ed; the repetition was, if anything, even better than the first effort. But as an actor, this Tonio was too heavy to be clownish, and was wanting in being even funny looking. Signor Dadone's voice and style fit him for more dignified parts.
18Silvio, in the person of a boyish young gentleman named Giovanelli, acted very warmly toward the pretty Nedda; he appeared to be much attracted; the fact of Nedda being the wife of another did not disturb him in the least. His love glances with real "goo-goo" eyes were flirted across the footlights, while his immorata may have been hungering if not actually starving for them. He also strove to sing lovingly, and could have succeeded had he known better how.
20Arlecchino, usually sung here by a soprano, was on this occasion performed by Signor Fattorini, a young man with a good, fresh and promising tenor voice, who was also an easy actor, and pleased so well that an encore was demanded and his serenade repeated, but coming forward to acknowledge the applause, then again returning behind the scenes to reserenade, played havoc with one's illusions, and worked distractingly; not so, however, with the gallery, which is the ruling element in most Milanese opera houses, and usually has everything its own sweet way.
22When this raving, stark-mad Canio had knifed his two victims, the wife and her lover, he dropped into a chair and stared into the breath-holding (rather breath-lacking) audience and scoringly gasped "la commedia . . . è finita . . . !" After which there was audible respiration, and a wave of applause broke loose that swept the house, above which were heard the cries of the insatiables: "Bis! bis!!!"
24"Cavalleria Rusticana" had the following cast of singers: Santuzza, T. Bendazzi-Garulli; Lola, V. Ferranti; Mamma Lucia, M. Angeli; Turiddu, G. Perez, and Alfio, C. Checchi.
26Signora Bendazzi-Garulli is an artist of great dramatic and vocal ability. Her Santuzza was a woman of feeling, expression, action—a woman wronged, full of pleading and supplication, but failing to regain the affection of Turiddu, her gay and handsome deceiver, who has become enamored of Lola, Alfio's pretty but frivolous spouse, she tells Alfio of her sorrow, in which his wife and her lover are concerned. Finding that Lola's husband takes the matter very seriously indeed, and declares that he will be avenged, Santuzza is frightened at what she has just done, for she still loves the faithless Turiddu in spite of his abandonment of her, his harsh and cruel treatment of her and his infatuation for Lola. The possible harm that may come to her guilty, heartless deceiver (through her disclosure to Alfio) is pictured in keenly felt agony and remorse. This Santuzza really made one understand and feel what she was suffering. Without great beauty or personal attraction Signora Bendazzi-Garulli won and held her audience in fixed attention and interest during the entire time she was upon the stage, whether in action or not. Her voice is a glorious one, of good range, power, quality and beauty. There is in it the true musical ring—the tone and color of sincerity, a part of her very self, her soul.
28Signora (or may be Signorina) Ferranti presented a Lola not very coquettish but sufficiently attractive. She sang her pretty entrance music, the stornello, very acceptably and with agreeable voice that augured well for other parts she may sing in the present season. one of two readings
29Signora (or may be Signorina) Ferranti presented a Lola not very coquetish but sufficiently attractive. She sang her pretty entrance music, the stornello, very acceptably and with agreeable voice that augured well for other parts she may sing in the present season. one of two readings
31The Mamma Lucia of Signora Angeli was sympathetic, and showed much concern in the troubles of poor Santuzza, notwithstanding her mother-heart for her naughty son Turiddu.
33The part does not claim overmuch ability; so that Signora Angeli, who is a large woman, performed her task easily enough.
35Turiddu, in the person of Signor G. Perez, a Spanish tenor, was the best looking, handsomest man I have yet seen in that part. His appearance as Turiddu, with heavy-browed, expressive dark eyes, a shock of black hair; a large, bull-like neck, full round throat, and well proportioned physically; dressed in deep blue velvet, low-cut, open shirt-collar, head capped in a thing of dark red beauty, decidedly becoming to his Spanish complexion—he had no difficulty in winning many Santuzzas and Lolas in the audience.
37This singer is gifted, too, with a large, resonant voice, ringing out with trumpet-like clearness and force; open and responsive in production, yet colored, though not with a warm or heart-touching quality; a voice natural and probably in absolute harmony and keeping with the singer's disposition and temperament. A "Spanish beauty" of a voice—not necessarily one of love, affection or warmth, any more than a "Spanish beauty" of woman need be. While Signor Perez sings in good tune, he does not pitch straight or leap directly to his higher tones, but steps and slurs up from the interval of a fourth below.
39The Alfio of Signor Checchi was the weakest member of the company. Had he shown more precision in singing and in action, not dragging his music so fearfully; and had he cracked his whip more successfully, his better-half, Lola, might have remained loyal to him out of love, admiration or fear of punishment.
41The chorus, which is of considerable importance in both these operas, sounded at times a little tired or overworked, but on the whole was spirited and effective. Their number is not very large, nor can they be recommended for good looks (excepting one young, pretty contralto and a fairly good-looking soprano); but their singing fully satisfies the ear if not the eye, and they always know their music thoroughly and may be relied upon.
43They are well trained and directed by their master, Signor A. Cairati.
45The orchestra, numbering nearly sixty members, were the usual players of the Lyric Theatre, but showed signs of knowing the music too well rather than not enough, being careless at times.
47Their new conductor, Signor Edoardo Boccalari, created a favorable impression by his quiet, reposeful manner, the air and bearing of a man sure and certain of his task by reason of experience; there was no doubt in one's mind of his having been in the conductor's chair before, and probably many a time. Signor Boccalari refused to turn up his electric light, disdainfully pushed aside the lamp at his desk (not requiring it), and never thought of opening the "Pagliacci" score, which lay before him. During the "Cavalleria Rusticana" performance following, the same score was still there untouched, until the Intermezzo was reached, when the book was quietly placed under his chair by the conductor. While the orchestra was not so neat, precise and finished, so full of delicate nuances as on previous occasions under Signor Giovanni Zuccani, it was more rugged and dramatic.
49These operas being conducted by Boccalari without the score; the players and singers knowing their music quasi by heart, too, the whole performance took on the air of an improvisation. The soloists were not obliged to watch the conductor, but could look and sing into the audience, confident that their every move would be closely followed by the free-sighted, non-score-burdened director, and at whose beck the accompanying orchestra had to be on time, though, as already indicated, not always with the greatest punctuality, or that scrupulous exactness practiced at the Scala Theatre.
51Here is something the writer has not understood and appeals for information to THE MUSICAL COURIER's editor-in-chief, Mr. Blumenberg, and to Mr. Huneker, the brilliant "Raconteur" of the same paper, two gentlemen deeply versed in the innermost secrets of secret things. That these intelligent gentlemen will be able to clear the dense brain and enlighten the mind of the writer in his pursuit of knowledge desired there cannot be the slightest doubt. When, as Turiddu, the Spanish tenor Perez came to the footlights to bow his thanks for applause received, he each and every time drew his open right hand across his breast from left to right shoulder. This action and practice of the Spanish singer was noticed by the Italian audience and seemingly understood by some, who may have been his countrymen, or brother members of some organization or society. Among others not so enlightened, these motions and signs have caused considerable talk and speculation, for which reason and his own sake the writer begs of THE MUSICAL COURIER to impart kindly just a little of its immense stock of wisdom stored in the minds of its able editors, and housed in its fine offices, St. James Building, New York. Looking forward to a favorable answer, grateful thanks are offered anticipatamente.
53It must be pleasant for an art lover not to be permitted to do with, or dispose of, his treasures as he may please or find expedient. Here is a case which was decided some days since before the Perugia Court of Justice. Prince Chigi, who had been charged by the Italian Government with a contravention of the law forbidding the sale of art treasures out of the country, had sold a famous Botticelli which he owned to a foreigner, the price obtained being 315,000 francs. The court, while not passing any punitive sentence on Prince Chigi, condemned two other gentlemen, who had been concerned in the transaction, to three months' imprisonment. The costs of the action will have to be borne, however, by all three accused, who will, moreover, be called upon to restore the picture to the prince's ancestral walls, or pay to the state its full value.
55The object of this law is to prevent the dispersal of masterpieces, of which Italy is proud, by impoverished private owners.
57A peasant of the Province of Brescia, while eating a pickled eel, discovered inside of it a large black pearl. He brought his find to Milan and sold it for 38,000 lire, about $7,600. (This statement, however, has not been acknowledged and sworn to before a justice.)
59Rud. Aug. Thomas, a musical composer, born at Darmstadt, but living in Italy some thirty years, is said to be
The computer misreads some letters and numbers. Where a name matters to you, read the scan.