Scan 14
Musical Courier 1902-05-28: Vol 44 Iss 1157, 1902
99 lines. Read by computer on 21 September 2026. Printed page 15. 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.
1BOSTON, Mass., May 25, 1902.
3THE first public performance of the School of Opera of the New England Conservatory of Music was given Friday afternoon of last week at the Boston Theatre, under the direction of Signor Oreste Bimboni.
5The house was packed with 3,000 listeners, the recipients of tickets from the conservatory. There was an orchestra of about forty players from the Boston Symphony Band.
7The program consisted of selections from Gounod's "Faust," Donizetti's "La Favorita," Wagner's "Lohengrin," Verdi's "Aida" and "Traviata" and Ricci's "Crescino e la Comare."
9The participants were the Misses Edith Ely, Eleanor Creden, Edith Patterson, Zelda Rotali, Clara Sexton and Mabel Stanaway. The men singers included Louis Black, Frederic Day, John S. Codman, George Yates Kells and U. S. Kerr.
11The occasion was an object lesson that verified the conclusions drawn in my article in THE MUSICAL COURIER of last week upon "Opera Schools and the Degeneracy of the Vocal Art."
13The participants are all earnest, enthusiastic students, and brought their best ability to the front; the consequence was that under the firm grasp and steady hand of Conductor Bimboni there were very few breaks in the continuity of the different scenes essayed.
15As far as dramatic efforts are concerned it is unnecessary to critically consider the situation, for it was a pupils' display after a comparatively short term of instruction.
17But as vocalists all the participants have had the advantage of prolonged study, more or less, and it is regarding this all-important item that a few critical remarks should be made.
19The fundamental element in opera is singing, and consequently the first demand of the performer is for a correct, solid fundamental training of the voice, in order that its development upon correct principles shall secure to the singer the necessary facility and power, and assure the preservation of the apparatus for the pursuance of a prolonged career.
21Now among all these aspirants there remains the necessity for a better fundamental voice training.
23I did not hear one whose voice was properly placed and correctly produced.
25The more pretentious the effort of the singer the more erratic was the voice production.
27Take now, just for instance, one case, that of Mr. Kerr's employment of his vocal powers. He abuses his apparatus incessantly. The quality of his voice, inherently, is no doubt an agreeable one, and there would exist sufficient power were the voice correctly employed.
29But unfortunately he has been the victim of either no instruction and followed a wrong intuition, or else his voice has been badly trained.
31Hardly one normal sound was emitted throughout his effort, for his voice is located in his throat and despoiled of all its quality and resonance.
33Now in a case like this the student must naturally deteriorate, for such erratic actions forbid improvement vocally, and lead to premature decay of the vocal powers. To praise such distortion would be little less than a crime upon the part of the critic.
35With voices of only ordinary capacity and not of phenomenal power, the very best conditions of voice production should prevail if much progress in a development of the vocal powers is to be gained.
37I cannot see that the voice training part of the showing on this occasion is dissimilar to that shown in the results quoted in the case of the Paris Conservatory, where out of 400 only two were found who might in time do something upon the operatic stage.
39The crying evil the world over is false instruction in the effort to train the voice.
41It was with extreme gratification that one observed the efficiency of Signor Bimboni's conducting. Rarely can one experience such satisfaction in the efforts of an operatic conductor as was obtained on this occasion through the complete mastery of every item the most critical might demand.
43Both the composer and the performer were accorded their rights.
45Indeed, Signor Bimboni is a conductor of rare merits, and one whose efforts should serve as an example for the emulation of his altogether too numerous wayward professional brothers.
47The orchestra played with the utmost regard for the demands of his reading of the score.
49The real expression of the score was obtained from players who under Gericke's conducting rarely play with expression.
51It is said that Mr. Jordan, of the Jordan, Marsh Company, who has shown interest in the development of this local opera school, liberally paid all the expenses incurred in the giving of this first public performance of the school.
53Can we hope here in Boston that such generosity will expand into the establishment of a grand opera? What a wonderful opera house would the Boston Theatre make if its antiquated horseshoe form were discarded and the auditorium rebuilt upon the modern amphitheatre plan. Mr. Higginson has endowed a superb orchestra; may not some other benevolent source establish an opera house and company?
55WARREN DAVENPORT.
57A NEW SCHLESINGER SONG.—I. H. Schroeder is publishing the latest song by Sebastian B. Schlesinger, "La Première," dedicated to Miss Vaugh Smith, of Weatherford, Tex., whose beautiful voice it is hoped will soon be heard on the concert stage. The same house has recently published an "élite edition" of a number of Mr. Schlesinger's songs.
59MISS ESTHER FEE, VIOLINISTE.
6016 ASTOR STREET, CHICAGO.
62Edmund J. Myer.
63VOCAL INSTRUCTION.
6432 East 23rd St., New York City.
65CIRCULAR FREE.
66Summer Term on Lake Chautauqua.
68CONCERT DIRECTION
69ROBERT STRAKOSCH
7056 Rue La Bruyere, PARIS.
72ANGELA ANDERSON
73PIANIST.
74LONDON, 1901-1902.
75For terms, etc., address
76W. ADLINGTON,
7722 OLD BURLINGTON ST.
78LONDON.
80MARCEL JOURNET.
82GENUINE bass voices are so rare that their possessors are deemed worthy of special distinction. When, however, a basso is found who is blessed with an extraordinary voice and whose training and experience equip him for artistic and effective work in opera, oratorio and recital, he deserves and is readily accorded a still larger measure of distinction. None denies such a singer his meed of praise; none withholds from him the honors and emoluments that are his.
84The artist, whose name heads this sketch and whose picture embellishes the cover of this week's paper, is such a singer as described.
86Marcel Journet was born in Paris, France, in the year 1869. He inherited the artist temperament from his mother and a passion for music from his father. As a boy he disclosed talents of an uncommon order. These gifts were recognized by his parents who wisely determined that they should be cultivated in an intelligent way. When a young man Journet matriculated in the Conservatoire of Paris. Here he pursued with success a full course. His progress was rapid, and his acquirements were sure. Ere he quitted this institution he was a broadly cultivated musician whose singing already had attracted considerable notice.
88One of the first of the celebrities to hear Journet sing was Calabresi, who, incontinently won by his voice and unexceptionable art, engaged him for a season of grand opera in the Théâtre de la Monnaie, Brussels. So successful was this engagement that it was made three times as long as was originally intended. In a company of artists of high repute the young basso sustained himself splendidly, winning audiences and critics. This, his first engagement, gave him a reputation of which any artist might be proud, and thereafter he was beset by managers. After his successful work in Brussels he went to London and appeared many times at Covent Garden. Here he repeated his former triumphs. His voice was praised for its many good qualities, and his singing and action were likewise extolled. Later he sang in most of the musical centres of Europe. All Journet's work, whether in opera, oratorio or concert, was illuminated by a high intelligence and controlled by severe taste; tact as well as talent he showed in his every endeavor.
90Two years ago Journet made his first visit to America, coming over as a member of the Maurice Grau Opera Company. His success here was just as pronounced as it had been on the other side of the Atlantic. His handsome appearance, superb acting and refined and forceful singing produced a favorable impression upon New York audiences. In several important operas Journet was substituted for Plançon, and sustained himself with credit. He has been re-engaged by Mr. Grau for the next season of grand opera in New York.
92In addition to his good voice and vocal abilities, Mr. Journet is exceptionally accomplished in a linguistic way. He speaks fluently German, English, French, Italian and Spanish. This summer he will sing in London at Covent Garden, assuming several important roles in the grand operas which are to be presented there. After his London engagement he will enjoy a long vacation in Switzerland, and will return to the United States early next fall.
94Mr. Journet will arrive in New York about September 1, and soon after will begin a series of song recitals in the large cities. He has secured as his American manager S. Kronberg, a successful and experienced impresario, who for years has booked the Western tours for the Grau Opera Company. Mr. Kronberg, whose home is at the Hotel Navarre, has already begun booking engagements for the distinguished Parisian artist. All communications should be addressed to him at that place.
96Breitner Plays.
98UDWIG BREITNER plays five recitals June 13, 20 and 27, and July 3 and 11, at the residence of Mrs. Harry Harkness-Flagler (Edgewood), Millbrook, New York. Among his numbers is the Sonata of Saint-Saëns for piano and violin, Mrs. Breitner assisting. Compositions by Rubinstein, Mendelssohn, Schumann, Chopin, Brahms, Grieg, Massenet, Beethoven and others, in many of which Mrs. Breitner will also play, will be given. It will make a very interesting series of recitals.
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