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Musical Courier 1903-08-26: Vol 47 Iss 1222, 1903
147 lines. Read by computer on 21 September 2026. Printed page 7. See the scan on archive.org.
1MME. ALICE ESTY.
3C. OUDON G. CHARLTON announces a brief concert tour in this country this season by Mme. Alice Esty, the distinguished dramatic soprano.
5Madame Esty, although a native of Boston, Mass., is less widely known in America than in Europe because, since her professional career began in the English capital some years ago, with a phenomenal success at one of the Patti concerts in Albert Hall, engagements have kept her abroad continuously.
7Immediately following her début Madame Esty was secured as prima donna soprano with the noted Carl Rosa Opera Company for several consecutive seasons. She created in English the roles of Santuzza in "Cavalleria Rusticana," Eva in "Die Meistersinger," Sieglinde in "Die Walküre," and under the personal direction of the composer Puccini Mimi in "La Bohème." In all she scored immediate success.
9The opera has not, however, monopolized her time. She has given much and serious attention to concert work, and besides many recital tours through Great Britain and one in Australia, Madame Esty has scored brilliantly as soloist with all the foremost societies—orchestral and choral—throughout England. She was chosen for the original production of Edward Elgar's "King Olaf" at the Sheffield Festival and for Parker's "Hora Novissima" at the Chester Festival.
11Her repertory includes, besides forty-eight operatic roles, all the standard oratorios and a very long list of modern works and songs in several languages.
13Madame Esty's voice is a pure, high soprano, of beautiful, rich quality, very wide range, and she sings with equal ease and effect the brilliant coloratura or deeply dramatic music. Her enunciation is exquisitely clear, and her highly finished art is further enhanced by the gracious charm of her personality.
15Engagements will keep Madame Esty in London until Christmas, when she will sail for New York; and as her season on the other side begins again April 1, 1904, she will be available in America only during the months of January, February and March.
17Her English press notices are as follows:
19"LA BOHEME."
21We have frequently seen and heard this capable and industrious artist to great advantage; but we can recall no occasion on which she has come through an exacting task more happily than she did on Saturday. In the purity of her singing, in the clearness of her diction, Miss Alice Esty stood entitled to all praise.—Daily Telegraph.
23"ROMEO AND JULIET."
25Those who found their way to Covent Garden were privileged to listen to a very delightful Juliet in the person of Miss Alice Esty, who won her audience's full favor, both in the charming waltz song and in the subsequent love passages with the ill fated Montague.—Daily Telegraph.
27"PAGLIACCI."
29In "Pagliacci" honors fell to Miss Alice Esty, whose clear, resonant voice was well suited to the music of Nedda.—Daily Telegraph.
31"DIE MEISTERSINGER."
33* * * Miss Alice Esty, an artist whose improvement is as marvelous as are her freshness of voice and stamina under the strain of constant hard work. She sang with remarkable charm and intelligence, and her tones rang through the house sweetly and powerfully as those of a bell.—Sunday Times.
35"TANNHAUSER."
37Miss Alice Esty sang with feeling and acted sympathetically as Elizabeth. The beautiful prayer has rarely been better sung on the stage in this country than it was on Saturday night.—Daily Chronicle.
39"LOHENGRIIN."
41Miss Alice Esty was as sweet vocally, in appearance and in manner as any Elsa I have ever seen.—Referee.
43"LA BOHEME."
45Miss Alice Esty gives a touching picture of the frail Mimi, and her voice tells remarkably well in Covent Garden. The finished acting and singing of this artist call for warm recognition.—The Times.
47"ROMEO AND JULIET."
49Miss Alice Esty was a very sympathetic Juliet, and the balcony scene made far more effect than it often makes in the "grand" season.—The Times.
51"FAUST."
53Miss Alice Esty invested the character of Margaret with such girlish naturalness and charm, and sang with a feeling so true and exquisite that her impersonation becomes a thing of joy in our galaxy of Marguerites.—Morning Advertiser.
55"TANNHAUSER."
57Miss Alice Esty was the Elizabeth, and made the part interesting by her youth, graceful appearance and charming voice, which is pure, sweet and cultivated, and her method is excellent. An occasional resemblance to the tones of Madame Patti added to the pleasure offered by Miss Esty's most agreeable and artistic embodiment of the character.—The Era.
59Royal Carl Rosa Opera Company.
61"TANNHAUSER."
63Of Miss Alice Esty's Elizabeth it is difficult to speak without seeming to exaggerate. Taking the impersonation as a whole, there is none in our recollection who have more nearly realized one's ideal of one of the most truly sweet and womanly heroines in the whole range of opera. Miss Esty gave this impression to the full.—Yorkshire Post.
65"LOHENGRIIN."
67Miss Esty's Elsa is a poetical and consistent impersonation. She sang the beautiful music with invariably appropriate feeling.—Manchester Guardian.
69BERLIOZ'S "FAUST."
71Miss Esty was in every way admirable as Margaret. In her first cottage scene she enters troubled and preoccupied, and sings in perfect vein the "Thule" song as she busies herself with her needlework. This song has a haunting melody, in which the 'cello is constantly wailing out the leading motive, and Miss Esty sings it abstractedly, and brings out its plaintiveness, pathos and beauty. It leads into a sad song for Margaret, "Ah Me, My Heart Is Heavy," which Miss Esty delivers with gentle pathos and excellent point. Indeed, this lady's performance was from every point of view artistic and pleasurable.—Liverpool Daily Post.
73"ROMEO AND JULIET."
75The Juliet of Miss Alice Esty is one to be more highly spoken of than ever. This clever artist presented quite an ideal conception of the part of the lovelorn and hapless maiden. Her chief vocal achievement was, of course, with the exacting waltz song, a brilliant rendering of which was heard, though the demand for its repetition very properly remained unconceded. The music in the balcony scene was also delightfully sung. The duet in the chamber scene was, like that in the balcony scene, made as important a feature of the opera as its composer intended it to be, and for their joint share of the tragic tomb scene the gifted impersonators of the ill fated lovers of Shakespearian creation are deserving of unstinted and unqualified praise.—Liverpool Courier.
77BERLIOZ'S "FAUST."
79Miss Alice Esty was a charming Margaret, investing the part with poetic grace and singing with the utmost delicacy the "King of Thule" song and the mournful air, "Ah Me, My Heart Is Heavy," in the last act.—Liverpool Courier.
81"CAVALLERIA RUSTICANA."
83Miss Alice Esty is an exceedingly conscientious artist, and her impersonations are almost classical in their refinement. She has a beautiful voice, and her interpretation of Santuzza's music was a source of keen and unfailing pleasure. * * * Miss Esty's silvery notes rang out with delightful effect.—Glasgow Herald.
85BERLIOZ'S "FAUST."
87Miss Alice Esty made a charming Margaret, and sang the "King of Thule" song in excellent taste, while for her share in the lovely duet with Faust, "Great Heaven, What See I?" she is entitled to the highest praise. The pathetic air, "Ah Me, My Heart Is Heavy," was also given by Miss Esty with true artistic feeling.—London Musical News
89"TANNHAUSER."
91Miss Alice Esty's performance was a most cultured and artistic one. In the second act, where great demands are made on her vocal powers, she proved herself more than equal to these, evoking warm plaudits of the audience.—Edinburgh Evening Dispatch.
93"ROMEO AND JULIET."
95Miss Alice Esty, as Juliet, from her opening phrase fulfilled every requirement of the part like a true artist, and such a tempest of huzzas as followed the singing of the waltz song must have been gratifying to her. It was long ere order was restored, for the fair soprano did not respond. She achieved a real triumph.—Belfast News Letter.
97"CAVALLERIA RUSTICANA."
99Some time will probably elapse before we see the equal of Miss Alice Esty's Santuzza. It was an assumption beyond the grasp of the ordinary prima of the lyric stage. It was forcible without being strained, and from a dramatic standpoint had every attribute of true womanly affection.—Belfast News Letter.
101S. C. BENNETT.
103S. C. BENNETT, of Carnegie Hall, will move from his present location this fall to a suite of rooms on the sixth floor, where he will have ample space for lectures, recitals, &c. In connection with his regular work of voice building, Mr. Bennett will conduct a preparatory training school for pupils desiring to fit themselves for the operatic stage. In this department he will be assisted by well known teachers of experience and ability in dramatic work, stage presence, &c. In addition to this he will have evening classes for chorus drill, repertory and ensemble. Mr. Bennett has had wide experience in opera and oratorio, particularly in the line of conducting, and his ideas are based upon strictly educational principles. Mr. Bennett will occupy his new suite of rooms about September 20, until which time voices will be tried and pupils enrolled at his present studio, No. 836 Carnegie Hall.
105William C. Carl in the Klondike.
107In the language of the wild and progressive Northwest, William C. Carl has had a "roaring" success at Dawson, Alaska. The rough miners and also the quality of the place turned out to a man and woman to attend his recitals. The distinguished organist was compelled to play four encores at the second recital. After leaving Dawson Mr. Carl traveled to Nome and then took the Yukon River trip of 1,800 miles. He will be opposite Siberia before this week ends. From Alaska Mr. Carl returns to Seattle, where he will plan his Pacific Coast tour. The dates already booked for him include these for the month of September; Vancouver, 11; Seattle, 15; Tacoma, 16; Portland, 18 and 19, and Spokane, 21.
109The Guilmant Organ School in New York will reopen October 12.
111THE AMERICAN INSTITUTE OF APPLIED MUSIC
112(The Metropolitan College of Music)
113EDGAR O. SILVER, President.
114The Faculty and Examiners: William Mason, Albert Ross Parsons, Harry Rowe Shelley, Tom Karl, John C. Griggs, Paul Ambrose, H. Rawlins Baker, Alfred D. Wickes, Kate S. Chittenden, William F. Sherman, Geo. Coleman Gow, McCall Lanham, Mina M. Bruère and others.
115The advantages are unequaled in America. Eighteenth Year begins September 28, 1903.
116Send for Circulars and Catalogues.
117KATE S. CHITTENDEN, Dean of the Faculty.
119JOSEPH HOLLMAN, CELLIST
120NOVEMBER to FEBRUARY
121Management Henry Wolfsohn
123RAFAEL JOSEFFY.
124Address: Letter Box 38, NORTH TARRYTOWN, N. Y.
126FREDERICK CARBERRY, TENOR.
127Management DUNSTAN COLLINS, 55 Auditorium Building, CHICAGO, ILL.
129MRS. HADDEN-ALEXANDER PIANIST.
130Carnegie Hall, New York.
132MR. & MRS. BRUNO STEINDEL
133Mr. STEINDEL, Solo Cellist of Thomas Orchestra.
134Mrs. STEINDEL, Pianiste.
135Management DUNSTAN COLLINS, 55 Auditorium Building, CHICAGO.
137ERSKINE PORTER
138TEN YEARS OF AGE.
139SOPRANO.
140CHURCH—CONCERT—MUSICALES.
141New booking from October 1.
142Repertoire of 125 Songs, both sacred and secular.
143For Terms, &c., address
144DAVID PORTER,
145189 Montague Street,
146BROOKLYN, N. Y.
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