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Musical Courier 1903-06-24: Vol 46 Iss 1213, 1903
49 lines. Read by computer on 23 September 2026. Printed page 10. See the scan on archive.org.
1MLLE. ANTONIA DOLORES.
3MLLE. ANTONIA DOLORES completed her tour of Southern California the first week in June. In each town the gifted singer was greeted by large and cordial audiences. Later on Mlle. Dolores will return to California for a long tour, for which her manager, Mr. Vert, has signed a contract with Mr. Behymer, of the Los Angeles Theatre.
5Saturday, June 13, Mlle. Dolores gave a recital at Tacoma. Tuesday, June 16, she began her tour of Canada at Victoria, B. C. Some of the other cities that will hear her are Vancouver, Nanaimo, Revelstoke, Banff, Calgary, Regina, Brandon and Winnipeg. Mlle. Dolores expects to reach New York the end of July, and a few days later she will sail for Europe.
7Following are criticisms from Honolulu and California papers:
9If a singer has a voice of unusual compass, if the tones be of entrancing purity, if there be a command of varieties of tone color sufficient to express all shades of emotion, if there be sparkling brilliancy of upper register and the flutelike clarity of the lower; if there be intelligent phrasing and a perfect enunciation in three or four languages; if there be a command of bravura equaling the traditions of the old Italian school, and if, back of all this, there be a most artistic temperament embodied in a winsome and attractive personality—if an artist has all this, it is hard not to write down a column of superlatives and to exhaust the stock of flattering synonyms.
11But all this in truth must be said of Antonia Dolores, as she now pleases to call herself, but who cannot get away from the better known name of Trebelli. After two years of well attested triumphs in Australia, she again appeared in Los Angeles last night on the stage of that name.
13Opening the program were groups of early Italian and French songs, and the dainty lyrics of the seventeenth and eighteenth centuries could have no more appropriate handling than the delicate touch of this artist. Passing to the later schools, selections from "Dinorah" and "Rigoletto" gave opportunity for the display of her well known art as a coloraturist. It is such artists as Dolores that keep alive the art of bel canto amid the modern delight in dynamics in song. She is primarily a singer of the Italian school, that in which beauty of tone is a prerequisite.
15In a Dvorak group Dolores showed a variety of emotional touches; each song was a gem in its way, but differed in sentiment and style; Saint-Saëns' "La Cloche" and Tosti's "Spring," the former evincing more of the sentimental and the latter rather leaning to the bravura, each appealed to her auditors, but in different ways. Encores galore were demanded and graciously granted, among which the "Tempest" song of Purcell and Auber's "Laughing Song" were the more notable. Few artists can sing the latter as does Dolores, and it has become so much her own as to be expected of her on at least one of her programs.
17Primarily a lyric soprano, this artist renders the high passages intended for a soprano leggiero with the utmost brilliancy. And the ease of her upper tones leaves her auditors hardly realizing that they have heard three lined C and D. Besides the steadiness of tone (which should be the model for the voice wobbling fraternity) and its utmost clarity, the impeccable intonation and accuracy in large intervals are unusual.
19In short, Mlle. Dolores is a great artist, one whom it is a delight to hear and a delight to honor. Not only does she make admirers by her singing, but she wins friends by her sweet and winsome nature and the hearty good humor that animates her personality as does the artistic spirit of her singing.—The Los Angeles Express, May 30, 1903.
21A singer can be as artistic and convincing in the smaller lyric forms as upon the dramatic stage, and can also apply to these songs a finer, daintier finish than is ordinarily given the arias and cavatinas of opera. Such a singer is Mlle. Dolores—whom we know best by her maternal name, Trebelli—and last night she again charmed many by her exquisite art. She is one of the best exponents of the art of beautiful interpretation, in which the finely controlled voice is made to yield emotional value, and which is, of course, greatly heightened by this singer's animated and attractive personality. The context of each song is thus brought out in complete illustration, and the sweet, well trained voice and the crystal clear enunciation round out a complete picture. Mlle. Dolores' selections last night, mainly compositions of the long ago, were full of quaint charm, and appealed very strongly to the musical audience. Her modern arias, the Shadow Song from Meyerbeer's "Dinorah" and the "Caro Nome" from Verdi's "Rigoletto," were capitally and brilliantly sung, but her characterization of each lyric she presents is so sincere, apt and satisfying that the charm of each imposes a fresh attention and tribute. The Dom Paradis air, the Gypsy Song of Paisiello and the Purcell song, "Come Unto These Golden Sands," were delightfully phrased and vocalized. The well pleased audience refused to move at the completion of the program until the perennial "Laughing Song," with its infectious mirth, was given.—The Los Angeles Herald.
23Dolores' art is exquisite. There is no flaw. The shining voice flows on and on in its satisfying perfection. Dolores is an example of that type of artist who has been made by circumstances. Her mother, Trebelli, was one of the greatest singers of a decade ago. Her father, Bettini, was a well known if not great tenor. Thus Dolores was born of music and brought up in a musical atmosphere. She heard, learned, lived music from her cradle, and only music of the best. All that she heard in her formative period was good music sung by great artists. She sings as a woman so nurtured would be expected to sing—with perfect art and serious musicianly appreciation. Her stage demeanor is most attractive. She is at all times calmly gracious and dignified. There is none of the smirking and bobbing and gallery play that so vulgarizes De Lussan's work, and even Nordica's. Dolores knows her own standing as an artist and does not condescend to coquette with her audience. Her singing of "Comin' Through the Rye" was so charming and arch that she was recalled five times after it. In Auber's "Laughing Song" she was deliciously infectious and set the audience laughing with the abandon of pure humor. Dolores' other numbers were "Chanson du Papillon," Campari; "Mia Presa" and "Ehi lo Trepiede," Paradies; "La Cloche," Saint-Saëns; "Spring," Tosti, and three of Dvorak's gypsy songs. In all her selections she was exquisite. It is a rare privilege for Los Angeles music lovers, and especially students of voice, to hear the liquid tones and high artistic perfection of such a singer as Dolores.—The Los Angeles Daily Times.
25The Loring Club concert last evening at the Republic Theatre, with Mlle. Antonia Dolores as soloist, was an event worth a place of note in the musical record of San Francisco. The soloist contributed much that was enjoyable, but best of all was her interpretation of the "Solveig's Song" from Grieg's "Peer Gynt," in which she came as near perfection in singing as a mere mortal may. It was flawless in tone production, in phrasing, in feeling and in color. The audience was in an absolute hush during the number and had the good taste not to give way to the impulse to applaud between the first and second parts of this, one of the most beautiful songs ever written. But as soon as the words of the last line—
26"And if thou tarry long, I shall come to thee, my dear," faded into a tone writh, there was the kind of outburst that thrills singer and audience. After three recalls she sang a bit of a French love song. Again and again she had to return, and then gave "Comin' Thro' the Rye" with such grace and archness that the audience was shouting "bravos" at its close. Twice she bowed acknowledgments to the compliments from the audience, and finally, as a fitting climax, sang her famous "Laughing Song," so infectious in its merriment that there was no face in the crowded house but was curved into unrestrained laughter.—The San Francisco Chronicle, May 22, 1903.
28Pearls! Pearls of sound of sweet tone. Cascades and torrents of them. Such a galaxy of tonal pictures it has seldom, if ever, been the fortune of the people of Honolulu to enjoy. That they did enjoy it was evidenced by the hearty and spontaneous applause that was accorded Mlle. Dolores on her reappearance here last evening at the opera house by the large audience.
30To attempt to criticise would be a waste of time—how criticise a faultless performance? That her voice has lost none of its charm since her last appearance here was evident to all after the first group of songs. When her voice had been warmed the audience was treated to a rendering of the famous "Shadow Song" that overshadows description. Such runs and trills, and delivered with such superb ease and finish! Lack of space prevents a minute mention of the different songs, but of special beauty were "La Cloche," Saint-Saëns, and "Crepuscule," J. Massenet.
32That Mlle. Dolores is very lavish of her beautiful voice was evidenced by the number of encores she granted, which were as follows: "Spring," Tosti; "Away, Away," Lee, and "Coming Through the Rye," which were given in the order named.—The Pacific Commercial Advertiser, Honolulu, May 6, 1903.
34Here are also extracts from New Zealand papers:
36Mlle. Antonia Doiores inaugurated her New Zealand tour at the Choral Hall last night under the most auspicious circumstances. The interior of the hall presented an uncommon sight, owing to the fact that there was an overflowing audience, fully 1,500 people being present, the gallery, the organ loft and the seats on the main floor being packed, while at the back, and even in the passage, several stood throughout the evening. There were many others who could not gain admission at all. The celebrated soprano, who returns to visit us after an absence of about ten months, and fresh from a triumphant season in Australia, was given a very enthusiastic reception, and her subsequent performance resulted in an unusually hearty and unrestrained series of demonstrations of delight. This recognition of Mlle. Dolores as an artist, while singular in that it has hitherto been less spontaneous on the part of Auckland audiences on her former visits, is a justly earned tribute—none the less due to her because of its tardiness—for there can be little doubt but that she is the most charming (we use the word advisedly) of living concert singers. She may be said, moreover, to be the finest exponent of the comedy and the pathos of vocalization. Her voice has that rare quality called soul and its music is of the kind which finds its way insidiously to the hearts of those who listen and leaves them enraptured. It is not a voice of grandeur, but is one of passing sweetness. Dolores captivates her hearers as few singers have the power to do. Invariably her programs are diverse in character, but as invariably it is in the numbers which enable her artistic and most sympathetic temperament to have sway that she succeeds the best. It is seldom given to us to hear a singer so gifted with expressive power, so capable of imbuing her audience with any mood she wills. Mlle. Dolores sang no less than seventeen numbers last night, five of which were in response to encores.—The New Zealand Herald, March 20, 1903.
38It is now nine months since Mlle. Dolores gave her last concert in Auckland, and since then she has sung all over Australia to immense audiences. So successful has the tour been that in some instances mademoiselle has had to return and give additional performances at the chief centres. During this period the celebrated diva has sung no less than 1,000 different times, not including encore solos. Mademoiselle was in excellent voice last night, and received a reception which was in every way worthy of her great talent. Her voice is as fresh and as delightful and sympathetic as of old, and she sings still with that indescribable charm which is peculiarly her own. As a ballad singer it is questionable if she has her equal in the world. She lives the songs she sings, and knows well how to search the hearts of her listeners. All the details of her all conquering technic are united and made subservient to the sole object of powerfully, or otherwise, interpreting a solo and making it clear and intelligible to the listener through the strength of her own charming personality. Her voice is under such command that she can modulate from the sweetest pianissimo on any degree of the scale she desires, to the most vigorous fortissimo, and her knowledge of the art of respiration enables her to sustain the notes to their fullest value and carry her phrases to a conclusion without any apparent effort. A special feature of her voice is its evenness of quality throughout its entire compass; listen as critically as you can, it is impossible to find one harsh or unsympathetic tone. All through the performance mademoiselle was listened to with rapt attention and delight, and at the termination of her numbers she was recalled again and again, amid the wildest applause imaginable. Mademoiselle was set in the program for twelve solos, but before the concert concluded seven additional songs had to be sung to satisfy her enthusiastic and delighted hearers. It was a considerable time after mademoiselle stepped across the platform before the enthusiasm and handclapping with which she was welcomed was allowed to subside so that she could get silence to sing her opening solo, which was Handel's famous aria, "From Mighty Kings." This was rendered with perfect florid vocalization and dramatic energy.—The Auckland Star, Friday, March 20, 1903.
40Sang Before the German Emperor.
42MISS FLORENCE WICKHAM, daughter of Judge Wickham, of Philadelphia, who has been in Europe several years cultivating her voice, recently was the recipient of an unusual distinction. The Philadelphia young lady sang before the German Emperor at the Royal Opera in Berlin, and, facing a large and brilliant assemblage, she electrified all. At the conclusion of the entertainment she was warmly congratulated by many distinguished personages.
44Miss Wickham has a glorious contralto voice of unusual range and power. She has been studying with Lilli Lehmann, who does not hesitate to declare she is one of the greatest singers that America has produced. Miss Wickham will remain abroad at least two years longer.
46Mr. Russell Gives "The Creation" in Newark.
48THE last oratorio service of the season was given in the Peddie Memorial Church, Newark, June 14. On this occasion Louis Arthur Russell, the organist and choirmaster of the church, presented Haydn's most popular oratorio, "The Creation," the work being done entire, with the fine chorus of the church, assisted by Mrs. Eva Tenny, soprano; Albert Quesnel, tenor; Rusling Wood, basso, and Claude Trevlyn, violinist. As usual at these oratorio services the church was crowded by a throng of Newark's music lovers.
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