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Musical Courier 1902-08-27: Vol 45 Iss 1170, 1902
32 lines. Read by computer on 22 September 2026. Printed page 7. See the scan on archive.org.
1impresario with advice, who pointed out that, although de Reszke might be an excellent actor, still the music of Leoncavallo in this opera was hardly suited to the tenor's voice, that "Pagliacci" was not of sufficient importance for the Paris Opéra, that it had not achieved any very great success outside Italy, &c.
3To these people Gailhard, the director, listened, and, as de Reszke would not sign the engagement unless the opera in question was produced, all negotiations are off, and, in consequence, it is highly improbable that he will be heard in Paris this next season. The report that certain people interested in the non-production of Leoncavallo's work claimed it to be unsuited to de Reszke's voice is to me amusing. An extraordinary voice de Reszke never possessed. Those critics and writers who speak of his beautiful voice simply do not know what they are talking about. A genuine voce di teatro must possess three factors—quality, power and compass. Of these factors de Reszke never had but the second in any large degree. But as the singer possessed in a very marked manner all the other gifts that go to make up the very complex organization of a lyric artist at the present day, he has been able to attain and hold his very high and perhaps unique position. In spite of long and persistent efforts de Reszke has never been able to quite subjugate his vocal instrument to his will. Hence in many passages he has to change the composer's intention by singing a phrase at the higher extremity of the voice always forte, although it may be distinctly marked piano. Witness the closing bars in the first air of Radames in "Aida," and several charming passages in the first air of Raoul in the "Huguenots." In this latter the composer has distinctly marked certain phrases on the highest notes to be sung piano, the effect of which is distinctly lost when sung otherwise. As an operatic tenor he holds, as I said a position perhaps unique; as a vocalist, pure and simple, he is very much less distinguished. Of this fact no one in the world is more fully aware than he himself, and it is for this reason that de Reszke makes a principle of never singing on the concert platform, as then at least two-thirds of his very great and varied gifts would not be in evidence. The extraordinary plastic talent, intelligence and graces of person which he possesses can only be entirely utilized through the medium of the action, costume and accessories required by the operatic stage. Some years ago when in London a concert was given for the Goring Thomas Fund, at which appeared as soloists all the famous singers of the day, and at which the choruses were sung by the students at the Royal Academy of Music, and the semi-chorus formed of artists such as Marie Brema, Plunket Greene, Ben Davies, &c. Jean de Reszke declined to sing, on the plea that it was a matter of principle with him not to appear in concert. Edward Lloyd, Ben Davies and others, whose names I forget at this moment, had nothing, however, to lose on the concert platform by comparison with the foremost members then performing at Covent Garden.
5So to have pleaded for the non-production of "Paillasses" that the music might not possibly be suited to the voice of Jean de Reszke was an absurd pretext, as it has always been as actor rather than singer that de Reszke has shone. It would suit his voice at least, as well as it did the organ of de Lucia, the tenor, who created the role. At all events the work is not to be given at the Paris Opéra this season, and consequently Jean de Reszke would not sign for next season. On the other hand it must be said that this business of imposing certain work on directors, on the part of certain operatic singers, is not always beneficial to the management. Massenet has always been a friend of de Reszke, as it was through the composer's influence that the tenor was engaged first of all at the Opéra here, where he created "Le Cid." Still the attempt to make "Werther" a success in America was a dismal failure, although interpreted by de Reszke, Eames and Sigrid Arnoldson. The work, meritorious though it is as opera comique, loses its charm at once when given as grand opera, and on a large stage, such as the one at the Metropolitan Opera House, of New York. Bemberg's "Elaine," another attempt to benefit a composer, was also a fiasco when given at the same house, with Melba and de Reszke.
7As a consequence of the non-engagement of de Reszke, the director of the Paris Opéra has engaged the tenor Van Dyck to give a series of performances during next October and November, as at present, owing to the absence of Alvarez, there is no tenor for the heavier roles, although the first tenors, Affre, Vaguët and Rousselière, are very capable artists and do satisfactory work.
9Program for the week: Monday, "Les Huguenots"; Wednesday, "Samson et Dalila"; Friday, "Aida."
11If the temperature has cooled during the last few days, not so the temper displayed at the Salle du Conservatoire, particularly in the competitions or examinations for singing, opera and opera comique. These are the concours most liked by the public, and admissions to the small halls are eagerly sought by many more people than the room will accommodate. In the singing department there was a much better display than last year. Whether the long promised reforms have really been effected or whether the professors, awakened by the strong outcry against them on the part of certain newspapers last year, have been more assiduous I know not. I can only say that the standard is much higher than at the previous competition. One malicious paper attributes it to the fact of the frequent absences from class on the part of certain of the professors; on the same principle, I suppose, as the recovery of a patient when the doctor is called elsewhere. In the class of opera several of the pupils appeared to considerable advantage, and two have already been engaged for the National Opéra. In the class of opéra comique little ability was shown in this essentially French school of art. An exciting scene also took place when the award of the jury was announced. Violent protestations were made by the public when it was known there was no first prize given to the male competitors. These outrages redoubled, and a perfect outburst was the result of the jury's decision that the favorite of the day, Mlle. Billa, did not receive the recompense to which the public thought she was justly entitled. Theo. Dubois, the president of the jury, threatened to clear the hall, which threat was actually put into execution. The audience, however, did not disperse, but remained outside the building, cheering the popular candidate to the echo when she appeared.
13The piano classes brought out some excellent performers, both male and female. For the former class the test piece was Ballad (No. 3), Chopin, and Caprice in E minor, Mendelssohn; sight reading test, written by Raoul Pugno. In the female class the tests were Sonata for Clavecin, by Scarlatti (No. 32), and Sonata in B flat minor, by Chopin. The sight reading test was written by Paladilhe.
15The results of the year's examinations at the Conservatoire can be summed up very briefly: All the instrumental classes—excellent, showing most excellent teaching on the part of the various professors; in the class of singing, opera and opéra comique—well, a great improvement on last year.
17AUGUST 6, 1902.
19Up to what point the representation of a composer's work shall be respected and what alterations or revisions are permissible, artistic and in good taste is a point on which musicians differ. "The Messiah," of Handel, is not given exactly as he wrote it. Beethoven's sonatas for piano are often performed as he would have written them (it is pleaded) had he had the modern keyboard; "Der Freischütz" is given on those lyric stages where spoken dialogue is prohibited, with sung recitatives by Benedict, &c. and Beethoven's "Fidelio" and Mozart's "Don Giovanni" are published and performed in similar fashion. Lord Byron's "Manfred" and "Sardanapalus" were not written to be performed in the theatre, nor was, it is asserted, "La Damnation de Faust" intended by Berlioz to be given as an opera. This last work holds about the same place in the mind and esteem of the musical public of France as does Handel's "Messiah" in England. It was arranged for production on the stage as an opera at the theatre of Monte Carlo, by Raoul Gunsbourg, the director, and forms a part of the regular repertory there. The adapter of Berlioz's work, having been taken to task for the share he had in its operatic form, defends himself thus:
21"It took me seven years to adapt 'La Damnation de Faust' for the stage, and ten to make it a success. I have not altered a single note of the composer's score. In what, it may be asked, consists the adaptation?
23"In 1885 I undertook the task, with the consent and aid of the heirs of Berlioz and the publisher Richaut, who placed at my disposal a trunkful of the composer's letters, with fragments of music, orchestrations, &c. Among this mass of documents we found three which decided me on the production of the work in this form and prove without doubt the following facts:
25"1. That it was a work for the theatre, and not an oratorio, that the composer intended, and the key to the dramatic sequence was found in a letter written by Berlioz to his son, and which we published in 1893. In this letter Berlioz states distinctly his intention to write an opera, 'La Damnation de Faust,' taken from the work of Goethe, but that on account of the difficulty of finding a manager willing to mount the opera it would have to be performed in concert form. (This was the first shock to the so-called friends and defenders of Berlioz.) The two other documents were: One, the orchestral number of the first act, forming pages 6, 7, 8, 9 of the score edited for concert performance. Above the staves for the piano were written the staffs for the voice part, containing the principal leitmotives of the orchestral number and certain phrases of the poem written under the voice part. Here the master's hand stopped with an &c. This &c. made me at once search in the pages of Goethe the succeeding passages, and I found that these adapted themselves entirely to the notes written in the voice part, without having to change a single one. I then exclaimed with Goethe: 'What light breaks in on my eyes!' for then I found that the character of Faust developed and explained, as well as the principal leitmotiv of the whole work.
27"Berlioz and Goethe then form but one. The Faust of Berlioz becomes in reality the great philosopher designated by Goethe, the soul profound, but tormented with the desire to discover the secret of life. Once this idea well understood, it becomes perfectly natural that the 'Marche Hongroise,' which was thought to be out of place, and inconsistent with the unity of the work, should form an integral part of the drama, since it is after the sight of these soldiers, excited with the song of victory, brandishing their swords, that the regard of Faust falls on the skull placed on his work table. And it is at the thought that all the young, vigorous life outside is doomed to end and disappear in a chimerical dream, in suffering, in death, that he sinks into his chair, overcome by the conviction that suffering and misery are the lot of humanity.
29"Not a single word in this adaptation has been changed; not a note of music altered. The whole work has been given form, body, consistency, and the first act: Glory! has this fully established the philosophic idea of Goethe and the musical treatment of Berlioz.
31"In the second act I used the same leitmotif for the
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