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Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
56 lines. Read by computer on 21 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 & Janichen, in the Corso Vittorio Emanuele No. 2, which is near the Duomo and the Galleria.
5CORSO VENEZIA 65, MILAN, ITALY, February 10, 1902.
7"HANSEL AND GRETEL" ("Nino e Rita") at the Scala Theatre. What a lot of innocent, childlike enjoyment can be had from this graceful, musical little opera of Father Humperdinck! I say "Father" Humperdinck because, like a father, the composer delights and amuses with this little fable his youngsters upon the stage, at the same time entertaining pleasingly the grown up ones in the audience. This fairy opera affords an evening of genuine pleasure in a fine, musical setting, lasting two solid hours. The great orchestra was superb, with the conductor, Maestro Toscanini, in his element. All the musicians appeared as well pleased and contented as were the two children in their innocence and happiness. A more natural and real juvenile scene I have not witnessed in a very long time on any Italian operatic stage—well sung and delightfully acted, unaffected and refreshing.
9Signorina Rosina Storchio as Nino, or Hansel, was a real boy in looks and action, displaying all the propensities that are supposed to belong to boys of a certain age—which, at least, are attributed to boys like Hansel. In this part the little soprano sang remarkably well.
11Signorina Jeanne Bathori, the Rita, or Gretel, was as sweetly girlish and clinging a little sister as a bigger brother's heart could desire. She, too, sang her part very well. They presented a pair of loving and lovable children.
13The witch (la strega marzapane) of Signorina Elisa Bruno was most excellent in action and song. The other parts were sustained acceptably.
15This "Hänsel" reminded one much of the "Meistersinger" David—the whole opera like a Wagnerian fable of lighter touch, attired in summer weight dress. But what a jump at the Scala, from "Die Walküre" and its measured, ponderous action, to this other story of lighter shade Wagnerism, or Wagner-like inspiration!—the Bayreuth master on tiptoe, or in slippers, as it were! This easily comprehended fairy tale of Humperdinck proved very attractive to the large Scala audience; the gracefully musical nature of the opera made instant and agreeable acquaintance, which grew into friendship almost as readily.
17At my side was seated a young German, who, being reminded by the first singing phrases of Hansel and Gretel of his country's "O, du lieber Augustin," fairly beamed with joy in one big grin, and saying to himself, just above a pianissimo distinctness, "Des g'fällt mir," then settled back in his seat, feeling quite at home and perfectly happy the rest of the evening.
19This opera was so well performed that it seemed all too short.
21Following "Hänsel and Gretel," the ballet "Amor" in its entirety was given. Both the bull and the baby elephant are now gaily caparisoned, and though overdressed the elephant, Papus (who has never, I believe, been introduced to THE MUSICAL COURIER by name), appeared in a happier mood.
23At the Scala, where "Il Trovatore" has not been heard in many a day and year (certainly not during the last nineteen years), he was announced to make his rentrée on Saturday evening last, with an invitation to stay over Sunday and as many days, or nights, more as he pleased; but owing to a slight cold or other indisposition, acquired since his arrival in this town of fogs and beastly weather, the Troubadour has had to request the management to excuse the tenor and postpone for a day or more the advent of "Il Trovatore," the new—i. e., the ever new—always fresh and pleasing, melody rich opera of the great master Verdi.
25That this opera is quasi new at the Scala, though written nearly half a century ago, will be seen from a short history of dates when this venturous spirit of a "Trovatore" tried his fortunes in the Lombardian capital. Born in the year 1853, the "Trovatore" made his first appearance that same year at the Scala, and was heartily welcomed and greatly applauded on twenty-three occasions; his second engagement was two years later, in 1855, when there were twenty-four performances; in 1857 the opera was produced twenty times; 1859 was an unfortunate year for the "Trovatore," his cast being a poor one, so that he was obliged to retreat after three attempts; the following year, 1860, he tried again, making four attempts, but failed to win the house; six years later, in the year 1866, he again came forward, but was so very badly presented that only one performance was offered; the year following, 1867, being well supported, he appeared ten times; in 1870 he was again in bad hands and had only one trial; then nothing was heard of the "Trovatore" at the Scala for seven long years, when one night, during the season of 1877, he returned for one appearance in the company of no less a charmer than Patti; he then again disappeared for another half dozen years, coming back to the Scala in 1883, when the whole affair was so bad that it was whistled off the boards and out of existence.
27The foregoing list of performances shows that "Il Trovatore" has not been given at the Scala in nearly a score of years; and during thirteen years before that time, from 1870 to 1883, there were but three single performances of the opera; so that, truthfully speaking, "Il Trovatore" may be called a new opera for the Scala public.
29Even "Trovatore," like "Linda di Chamounix" and "Hänsel and Gretel," is to be followed by half of "Amor"—that is to say, by part first or second of the ballet named "Amor."
31Two correspondents, writing me in English from Rome and Florence respectively, desire information concerning the interior of the Scala Theatre, as seen in the picture of the same which heads this column in THE MUSICAL COURIER. Complying with their request, and for the benefit of other readers at the same time, I will state that the main floor of the Scala, which is called the Platea, is divided into Poltrona, Poltroncina, Posto distinto and Posto numerato—containing a certain number of rows of seats each; of these rows there are only twenty-one in all, each of about thirty-four seats, except furthest from the stage in the bend where the rows shorten; the entrances to front seats are at the sides near the stage (a little door opening under the first tier of boxes), separating the orchestra from the first row; the rear seats, the rows in the Posti distinti and numerati, are reached through the main entrance under the royal box. The space used by these last rows (Posti numerati) formerly accommodated standing visitors, but this has recently been entirely converted into seats. The arrangement of the rest of the theatre is in six tiers of boxes apparently; such is certainly the impression gained from the picture, and also in the house when seated in the auditorium.
33Of these six tiers, divided regularly into thirty-nine boxes each by slender pillars, or rather posts, the lower four tiers are really all boxes, mostly occupied by private owners—except in the centre of the horseshoe bend directly opposite the stage, where the main entrance, and above it the royal box, occupies the width of three regular boxes through the height of two tiers, thus taking away six, or rather nine, of these small boxes. The fifth tier, in the bend centre facing the stage, is called the gallery, and contains the space of one-third, or thirteen box appearing apartments, of the whole tier. In this so-called gallery there are but two rows of chairs, the second higher than the first, being placed, three in number, between every two columns or posts, i. e., in every seeming box division. The two wings or sides of this fifth tier are arranged in double and a few triple sized boxes, usually occupied by society and club men, unaccompanied by ladies. These five tiers or floors are reached by the main stairs.
35Above these, the sixth floor or tier of box looking divisions is the top, or real gallery, known as the loggione. This is all in one space running the entire length or round from one side of the stage to the other. In seats this loggione is two rows deep, three in each division between two posts, and in standing room space the accommodation is only for two persons deep. The ceiling, or roof, here is so low that a good sized man (not necessarily a very tall one) cannot stand erect; and this is now the only space at the Scala allotted to the poor man, there being no other standing room, and these seats are the only ones within his means. To the vision these six tiers are in most regular box divisions throughout the house, being box above box and post upon post, except the grand or royal box. In truth these divisions are but the boxes they are called, being small, and not having so very much more room than is found in a large sized dry goods case in America.
37Of proscenium boxes there are eight—four on either side of the stage. This stage is something enormous in its depth. The orchestra is not sunk or lowered below the auditorium floor, and the musicians occupy the space in depth of eight chairs between stage and audience. The curtain is of heavy velvet; it is run apart and then drawn up at the sides, as explained in a previous letter to THE MUSICAL COURIER. The lighting of the Teatro alla Scala is by electricity.
39Of performances at the Dal Verme Theatre I shall not speak of opera this time, but confine myself to dancing. One night last week the ballet "Brahma" was produced there. This was written by Ippolito Monplaisir, and the music furnished by C. Dall' Argine. It contains a prologue and seven pictures. The music is not very original, though gracefully tuneful; is constructed of reminiscences in fact, but pleases greatly. The story is not particularly interesting or instructive; but the scenery is attractive, the pictures very showy and the last apotheosis really fine. There are three solo dancers, absolutely first class.
41But on this occasion the ballet "Brahma" served merely as an introduction or first part of the evening's program.
43Part two was announced in big, glaring fashion, thus: "La bella Otéro, the Spanish dancer and singer, in her vasto repertorio"; this announcement having been preceded by glowing accounts of the dancer's beauty, her grace, her great wealth in diamonds; her questionable moral doings and her life generally in Paris, where she was described as having been the famous rival of a certain other dancer, and a great heart breaker, turning the heads and purses of the weak but moneyed youth, and older heads, too, of gay Paree. But in spite of all these sensational and spicy advance notices the bella ballerina and so-called cantatrice failed utterly to dazzle here and was whistled off the stage. This sensational and challenging mode of advertising but served to whet the curiosity and appetite of certain Milanese—men and women alike—to an unhealthy point, with a desire for yet more than was promised in the "vasto repertorio della bella Otéro." It was only natural, therefore, that this deluded audience, in its anticipation of pictures or scenes not to be given in public, became irate with the management and dancer alike, and consequently whistled furiously. To tell New Yorkers who la belle Otéro is would seem superfluous, for she appeared in that city during several months some few years ago, within 1,000 miles of Madison square.
45A second appearance ended her Milan engagement. All this points to a moral. Some day, perhaps, the Italians may know more about advertising artistically; there is something in it beyond mere sensationalism. Good taste advertising is an Art, spelled with a capital, and not to be undervalued or offset by any amount of clumsy, blundering work.
47In the near future, soon after the close of the present season of opera at the Lirico Theatre—probably during the first week in March—Eleonora Duse and her company will present Gabriele d'Annunzio's "Francesca da Rimini" at that theatre.
49A "Grande Veglione di Gala" (festive masked ball) is announced for the 14th at the Scala, with the intervention (assistance) of the "celebre elefantessa Papus."
51Frequently THE MUSICAL COURIER has called forth such exclamations in Italy as "Che grande giornale! ogni settimana forte cosi?" ("What a great paper! every week so strong-large?") But the last number received at Milan, issued January 22, caused these remarks to be made: "Ma che lusso! Grande giornale, per Bacco!—e con cinquanta di pagine! una bellezza, veramente!" ("But what luxury! Great paper, by Jove—or Bacco!—and with fifty pages! A beauty, verily!")
53Responding to several Milanese inquiries as to why there had appeared no extended account or criticism in THE MUSICAL COURIER of Don Lorenzo Perosi's new oratorio "Moses," which was produced here in November last, followed by eight very successful repetitions in quick succession, I can but quote the written assurance of the editor-in-chief of the paper to the effect that my letter had not been published simply because it had never been received by THE MUSICAL COURIER. That I did write and send such a letter, however, is verified by the Milan Post Office registry receipt of that date in my possession. An official investigation as to the cause of this loss is now in progress. Unless entirely too late when found, the letter may yet be published by THE MUSICAL COURIER. This explanation is made in justice to THE MUSICAL COURIER as well as to myself.
55DELMA-HEIDE.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.