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Musical Courier 1905-06-21: Vol 50 Iss 1317, 1905
34 lines. Read by computer on 23 September 2026. Printed page 5. See the scan on archive.org.
1GEORG FERGUSSON is a name that has come to carry weight in the world of vocalism, more particularly in the pedagogic field. Some eight years ago Mr. Fergusson began to give singing lessons here in a small way, quietly and unostentatiously, relying solely upon his merits and results attained to make a reputation. From this small beginning he has developed into one of the busiest and most successful vocal instructors in Berlin. During these years of expansion little came out in the papers concerning Fergusson's efforts, but now his work has reached a point that the world at large should know what he is doing. The fruits of his more recent labors were seen last Saturday evening in a public concert given at Bechstein Hall by some ten of his more advanced pupils. It proved to be a very interesting and successful affair and I am confident that very few singing teachers in this great art centre could produce an equal, much less a better showing. Both in their solo and ensemble work the pupils did admirably.
3For ensemble numbers there were a duet by Gounod, "D'un coeur qui t'aime," sung by Misses Courts and Godwin; a quintet from the "Meistersinger," given by Fraulein Cordes, Frau Weiner and Messrs. Anton, Reed and Towns; the quartet from the last act of "Rigoletto," rendered by Mrs. Butler, Miss Godwin and Messrs. Reed and Towns; and the sextet from "Lucia di Lammermoor," sung by Mrs. Butler, Miss Griewisch and Messrs. Reed, Blois, Towns and Knowles. These works were all sung with fine ensemble, precision and good tonal balance.
5The best individual work was that of Fraulein Cordes, who sang the "Tannhäuser" aria, "Dich, Theure Halle." This young lady possesses a beautiful and powerful soprano voice, with the real dramatic ring, and she interpreted the well worn aria with a keen appreciation of its import, with artistic finish and with temperament. Her tones have a ringing, noble quality, and even occasional forcing does not mar their beauty. She sang like a true artist. Fraulein Cordes has had the advantage of a year's practical experience, being a member of the opera at Dortmund, but she owes her vocal education entirely to Fergusson.
7Miss Courts, a Galveston girl, was heard in "Hear Ye, Israel," from Mendelssohn's "Elijah." She has a high soprano voice of sympathetic timbre, and she has attained to a marked degree of vocal skill. She also sang musically and with warmth. When she came to Fergusson three years ago her voice was in a bad way, but under his careful tutelage it has developed into a beautiful organ.
9George Reed, the tenor, gave the aria, "Il fior" from "Carmen" with fine tonal production, with taste and with a delivery full of fire and esprit. His best efforts, however, were in the important tenor part of the "Rigoletto" quartet. Reed has a genuine operatic voice, his organ being adapted rather to heroic than to lyric parts. He has been with Fergusson four years and is nearly ready for public work.
11Frau Wiener rendered two songs by Robert Franz, revealing a mezzo soprano voice of no great volume, but of very pleasing quality. Her "Vortrag" is tasteful and sympathetic and she has the true artistic soul in all her interpretations.
13Miss Godwin, a South African girl, sang songs by Grieg, Schumann and Wolf. Her voice is a light mezzo soprano. She entered into her work with great warmth, intelligence and enthusiasm, and her interpretations were earnest and convincing.
15Kirk Towns, the only baritone of the lot, was heard in the recitative and aria "Eri tu che macchiavi," from Verdi's "Un Ballo in Maschera." His fine baritone voice sounded fresh and full, and was an agreeable change after the numerous sopranos. During the past year Towns has gained materially in the art of singing and of dramatic expression. There is a whole souled note of sincerity and honest artistic endeavor in all his work.
17Mrs. Herbert Butler was heard in the mad scene from "Lucia," with flute obligato played by Herr Kurth. In this number Mrs. Butler fairly outdid herself, working up to a climax in the cadenza that brought down the house. Her voice is a pure, high, light, flexible coloratura that vied with the flute in beauty of tone production. It has natural warmth and is of delightful quality. In the cadenza, more particularly, in which she was at her best, her tones gushed forth as easily as those of a nightingale. Her runs, staccato and trills were admirable.
19In Liszt's "Lorelei" Fraulein Schwartz distinguished herself by her unusual musical intelligence, by her individuality of conception and by her artistic style. Her voice is a genuine lyric soprano and when she shall have succeeded in placing it perfectly and getting it into shape to do her bidding she will be a remarkable singer. Her voice is naturally beautiful; she has temperament and an intensely musical nature.
21Miss Melville, a sister of Margaret Melville, the well known composer-pianist, and an assistant to Fergusson as well as his pupil, sang Bemberg's "Nymphs et Sylvains." Her voice, a pure, light lyric soprano, is admirably placed, and under perfect control. In freedom of style and charm of delivery Miss Melville is delightful. She sings with the ease and assurance of an artist long years on the stage.
23Last but not least came Max Anton, who rendered "Walthers Preislied" from the "Meistersinger." Anton has a splendid tenor voice of great range and volume. He has the advantage of being a thorough musician, having formerly been a pianist, and having studied with a view to becoming a conductor. He handles his voice skillfully and sings with feeling, energy and abandon. His only fault is that at times he tries to give too much. For the past year Anton has been at the Opera at Dortmund, but for the next season he has been engaged by the Dresden Royal Opera.
25Altogether, this first public concert of the Fergusson pupils was a decided success.
27Aino Ackté, from the Paris Grand Opera, appeared here as "guest" at the Royal Opera in the roles of Elsa and Marguerite. She made a very favorable impression. Her voice is not large, but it is of very agreeable timbre, and her conception of the roles she interpreted revealed musical intelligence, dramatic intensity and individual color. As Marguerite she displayed fine vocal technic. There was distinction—the personal note—in all that she did. She gave us a French Marguerite and not the German Gretchen, but her interpretation was full of interest and the role surely has its justification as Mlle. Ackté conceives it.
29The pupils of the operatic department of the Stern Conservatory have been giving a series of public performances at the West Side Opera House. Wednesday I heard them in "Hänsel and Gretel," and for a pupils' performance—it was given under the musically leadership of Gustav Hollander, director of the conservatory—it certainly was a most creditable affair. The role of Gretel was sung by Martha Klaus, and that of Hänsel by Adelheid Rubens, both of the young ladies being pupils of Selma Nicklass-Kempner. Max Begemann, a Heinemann pupil, took the part of Peter the broombinder, and Margarethe Nessler, who studies with Mme. Corelli, that of Gertrude, the children's mother. The Witch, the "Sandman" and the "Dew-man" were impersonated by Toni Heuser, Izia Rybicka and Margarethe Joseph respectively. These young aspirants to operatic fame caught the spirit of Humperdinck's charming opera to perfection and they entered into their work with a zeal and enthusiasm that were contagious. Vocally they were all perfectly sure of their parts, and historically they gave many clever touches to their roles, particularly the broombinder (Herr Begemann), and Gretel (Fraulein Klaus), who both in their appearance and their acting fitted the roles admirably. The success of the young singers was immense and at the close they were called out again and again.
31George R. Tillson, of New York, pupil of Franz Grunicke in organ playing, and Edgar Stillman-Kelley in composition, gave an organ recital in the Luther Church on Monday evening, with the assistance of Frau Rudolf Christians, soprano, and Gwilym Miles, baritone. The young organist played a Bach passacaglia, a fugue in A major of his own composition, and two numbers by Widor, namely, the intermezzo from the sixth and the allegro from the fifth organ symphonies. Tillson is a very talented youth. He has a good command of organ technic, his finger work, pedaling and registering being excellent. That he is also a good musician was revealed by his conception and interpretation of his soli, and no less so by his rendering of accompaniments for the singers. He played with dexterity, with taste and with refinement. His own fugue, moreover, proved to be an interesting work. It showed invention, harmonic and contrapuntal skill of a high order, its triple counterpoint especially being quite noteworthy.
33Frau Christians, wife of the eminent actor of the Royal
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