Scan 17
Musical Courier 1902-04-09: Vol 44 Iss 1150, 1902
70 lines. Read by computer on 22 September 2026. No printed page number was found. See the scan on archive.org.
1mer to have its initial performance in the arena at Béziers where Saint-Saëns will arrive shortly in order to superintend and arrange in person the mise-en-scène of his work. Costumes and scenery for this performance are to surpass in costliness and splendor everything that has so far been seen in this line.
3Miss Emmy Destinn, of the Royal Opera, has just published with Duncker here a little volume of poems, entitled "Sturm und Ruhe" (Storm and Rest). It is rarely the case that a court opera prima donna, who is at the same time a singer of note and an artist of highest rank as well as originality and versatility, appears in public as a poetess. Involuntarily the reader in taking up the little volume hopes to find in the verses of the authoress something that might lead him to an understanding also of the psychology of the songstress. All the more is this the case if the latter has so pronouncedly individual a personality as Miss Destinn. And indeed there is a curious sort of dreaminess hovering over most of her lines, while they contain at the same time that charm of race and a certain indefinable longing which also characterize many of her musico-dramatic impersonations upon the stage. As a sample I give you only the few lines entitled "Chopin," which will surely charm many among my readers, Huneker and Vance Thompson not excepted:
5CHOPIN.
6Ein seufzend Lied zieht leise aus den Tasten,
7Wie ein Parfum aus längst entschwund'ner Zeit,
8Ein Nebelbild, das nirgends mehr darf rasten.
9So hört, ich einst im Wald den Vogel singen,
10Still flötend eine leise Melodie,
11Und fühlt' in mir des Liedes Schall verklingen.
13Death removed last week two great vocal artists from this mundane sphere. The news of the sudden demise of Royal Chamber Singer Paul Bulsz was as painful as it came unexpected. Before the ink could have dried upon the obituaries in the dailies, the second, though hourly expected death news reached the capital. Franz Nachbaur had died at Munich. Both artists, the North German baritone and the South German tenor had reached the height of artistic merit and of well earned renown. Both had also closed their stage career, Franz Nachbaur since a number of years, Bulsz only since last season. Both, however, continued to appear in concerts, Nachbaur, despite his still beautiful voice, only occasionally in the circle of friends or for charity, while Bulsz, who even carried himself with the idea of a concert tour through the United States, filled quite a number of out of town engagements. It was on one of these trips that he was taken ill with pneumonia and died unexpectedly at Temesvar in Hungary last Friday. He was born upon his father's estate in Saxony, in December, 1849, became a pupil of the late Gustav Engel, of Berlin, and later on studied with the older Lamperti, in Milan. After several smaller engagements he was called to the Dresden Royal Opera House in 1875, and from 1889 on until last year was a much valued member of the Berlin Royal Opera House personnel. He had been heard here before, however, for in 1877 he appeared at Kroll's summer opera in the part of Zampa. Herold wrote this part for a tenor voice, but Bulsz, with his fresh, high baritone, sang it in the original without transposition, with an ease which pleased the public and the press. With one bound he became a famous artist and kept this reputation to the end of his life. At Kroll's he sang only repertory operas, such as "Hans Heiling," "Don Giovanni," "Trovatore," "Ballo in Maschera," "Nachtgärtner," "Rigoletto," while at the Royal Opera House here he developed into a most versatile artist, who among other roles created the parts of Barnaba ("Gioconda"), Friedlau ("Hiärne"), Alfo ("Cavalleria"), Tonio ("Pagliacci"), Iago ("Otello"), Lord Ruthven ("Vampyre"), Gringoire, Johann Rantzau ("I Rantzau"); Brian ("Ivanhoe"), by Sullivan, "Enoch Arden," Johannes Freudhofer ("Evangeliman"), "Don Quixote" (by Kienzl), and a number of others. If to these be added Bulsz's standing repertory works by Weber, Wagner, Lortzing, Mozart, Bizet, Goetz, Verdi, Meyerbeer, &c., it will be seen that he was one of the most useful, as well as most frequently appearing artists among the entire Berlin Opera House personnel.
15Nachbaur, who was born March 25, 1835, at Friedrichshafen, and studied for civil engineer until his glorious tenor voice was discovered and trained by Pischek, at Stuttgart. He could find no engagement at first, however, and became chorus singer at Bâle. Thence he worked his way up little by little, singing at Luneville, Manheim, Hanover, Prague, Darmstadt and then Vienna, where Wagner heard him, and being charmed by his voice had him called to Munich in 1866. Nachbaur, however, was too much of a lyric and too little of a dramatic tenor to suit for Wagner roles. The king, however, loved the tenor's bel canto, and retained him at the Bavarian Royal Opera to the end of his life. He was also the representative of the Knight of the Swan in King Ludwig's fantastic private "Lohengrin" performances at night in the Wintergarten of the Munich castle. For these impersonations the king presented the artist with the famous Lohengrin armor, made of silver. Shortly after King Ludwig's death in 1890, Nachbaur was pensioned. His voice was a very mellow and yet sonorous one, and he sang admirably, but he was not what might be called a great heroic tenor.
17Among the musical visitors at the Berlin office of THE MUSICAL COURIER during the last few days was Miss Elsa E. Dirémeaux, a young pianist from Seattle, Wash., who is going to finish her pianistic education here under Godowsky's guidance; Miss E. Power, a London musician; Walter Ibach, from Barmen, technical director of the famous old piano manufacturing firm of Rud. Ibach Sohn; Waldemar von Dahlen, Mrs. Leopold Godowsky and Mrs. Geo. L. Raschig, from Indianapolis, Ind., who intends to study oratorio and lieder singing for a few months here with Prof. Alfred Blume.
19Mary Louise Clary.
21MARY LOUISE CLARY was heard in Rossini's "Stabat Mater" in Brooklyn on March 23, and made three appearances in Montreal during the past week, two of them being in the "Messiah." She also sang in the "Redemption" and a miscellaneous program in Newark March 30, and will be heard in a concert in Peekskill April 3.
23A few of her recent criticisms are here reproduced:
24Verdi's "Requiem."—Miss Clary sang her part with great distinction. An artistic method, plenitude of voice, dramatic style and fine intelligence made her work very brilliant.—Newark Call, March 9, 1902.
26Verdi's "Requiem."—Miss Clary, of course, commanded attention at once. A great singer is recognized immediately, even by the musically uneducated, of whom there were but few present last night. Her clarion voice is a delight and a satisfaction, reminding many of Madame Schumann-Heink.—Newark Advertiser, March 6, 1902.
28Verdi's "Requiem."—In speaking of Miss Clary's voice and vocal efforts, it is difficult to do the subject justice in a few words. It is a superb contralto, such as is seldom heard on the operatic or concert stage. It was remarkable for its rich, 'cello-like quality as for its extraordinary volume and range; and is so admirably controlled that it is as effective in passages requiring delicacy of expression as in those permitting her to pour out a flood of uplifting tone. As she employs it in the Requiem, it is a rock of strength and a source of infinite pleasure.—Newark Evening News, March 6, 1902.
30Rossini's "Stabat Mater."—By her singing on this occasion Miss Clary again proved that she is one of the greatest contraltos in the country, and possesses one of the noblest voices to be heard in public to-day. In the solo, "Fac ut Portem," which she sang with fine dignity and inspiring fervor, her voice rang out gloriously, and in the duet and quartets she disclosed a beauty of rich, luscious and powerful tones, and an artistry in the use of them that made her share in the performance a musical treat.—Newark Evening News, March 3, 1902.
32FANNIE EDGAR THOMAS IN BOSTON.
34FANNIE EDGAR THOMAS, who is residing in Boston at present, is giving series of talks on subjects about Paris and Parisians on which she is an authority. In one series the subjects are under six heads: First and second, pen picture and personality of modern French composers; third, famous women in their Paris homes; fourth, what constitutes "style" in the French woman; fifth, some dramatic events in Paris; sixth, qualities and failings of the French. The detail is presented here:
351 and 2. Composers.—Gounod, Ambroise Thomas, Saint-Saëns, Massenet, Guilmant, Widor, Godard, d'Indy, Joncière, Weckerlin, Messager, Pierné, Fauré, Chaminade, Holmès, de Grandval, Sarasate, Paderevski, Hollmann, de la Tombelle, Bemberg, Fontenailles, Ferrari, Vieu, &c.
363. Famous Women.—Viardot (Garcias, Malibran, de Beriot, &c.), Calvè, Delna, Eames, Melba, Sanderson, Princesse de Polignac, Artot de Padilla, de la Grange, Roger-Michos, Litvinne, Madame Colonne, Marchesi.
374. Philosophy and detail of the striking impression made by the Woman Gau—mind, body, habit, education, subjection to man's approval, fnesse, walk, pose, dress, the unconscious "come-dienne."
385. Popular Feeling in Regard to Event. Dreyfus Affair. Charité Bazaar Fire. Some Great Funerals. The Russian Fête. Demolition of the Chateau. Hortense.
396. Analysis and Illustration of Race Nature.
40Two lectures on American students in Paris and the French language, explaining how "time, money and spirit are wasted in its pursuit and career damaged by its lack"; "How it should be pursued to accomplish it practically and effectually," are applicable to all interested in acquiring the French language.
42THE FRENCH LANGUAGE—FIRST LECTURE.
43Why Students Must Have It.
44Do They Get It?
45Who Are Responsible if They Do Not?
46Conditions of Study. Singing Teachers. French Teachers. Their Own Weakness. Friends and Relations. French Compliments. Damage to Career by Lack.
47"Catching-up" French.
48Speaking English.
49Popular Fallacies.
51SECOND LECTURE.
52How One Should Begin the Study.
53Mistakes to Avoid on All Sides.
54Intelligent Gradation of Work.
55Correct Pronunciation Before Speaking.
56Sentence Making.
57Self Help. How to Help Each Other.
58Simplicity of Study.
59Four Struggles and How to Meet Them.
60Prices of Lessons.
61Daily Lessons and Class Work.
63SPECIAL NOTICES.
64Miss Thomas is not propagating a language method, is not a French teacher, has not the slightest intention of becoming one. Her intense interest in this subject is purely educational, evolved during a seven years' residence in Paris, studying French and American musical movements for the NEW YORK MUSICAL COURIER.
65An entire horizon of new, hopeful and practical endeavor in language study was thrown into view by contemplation of this special department of art work while abroad, and is indicated in these lectures.
66For her services to French music art Miss Thomas was made Officier d'Académie Française, a title of honor bestowed by the French Government; MM. Saint-Saëns, Massenet, Thomas, Reyier, Joncière, Lenepey, Bourgault-Ducoudray, Widor, Guilmant, Gigout, Marmontel, Diemer, Lamoureux, Colonne, Dallier, Lefèvre, procuring for her this distinction.
67In the series on musical relations between France and the States the subdivisions are: (1) shall we attempt a musical career? (2) shall we go to Paris? Advantages and disadvantages; (3) practical suggestions as to expense, living, study, &c.; (4 and 5) the French language. What to do and not to do; (6) possibilities of artists securing engagements. How shall they make themselves known.
69WANTED—Artist piano teacher, gentleman preferred; leading conservatory not in New York, but in large city. Address "MUSICUS," care of THE MUSICAL COURIER, St. James Building, 1135 Broadway, New York.
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