Scan 10
Musical Courier 1905-08-23: Vol 51 Iss 1326, 1905
72 lines. Read by computer on 23 September 2026. Printed page 11. See the scan on archive.org.
114 RUE LINCOLN
2(CORNER AVENUE DES CHAMPS-ELYSEES.)
3PARIS, AUGUST 7, 1905.
4[Artists contemplating American engagements can secure valuable practical advice by consulting Mr. Delma-Heide, Paris representative of THE MUSICAL COURIER.]
6THE Conservatoire examinations for this year are ended and the last days described below.
8The ninth day of the Conservatoire competitions may be described as the great day, from the point of view of public interest. From 9 o'clock a crowd assembled outside the Opera Comique, prepared to remain shut up in a stifling atmosphere at the end of July, in order to be present at the competitions for Tragedy and Comedy.
10The jury were: MM. Th. Dubois, president; Victorien Sardou, Ludovic Halévy, Jules Claretie, Henri Lavedan, Paul Hervieu, Paul Ginisty, Alfred Capus, Moumet-Sully, Adrien Bernheim, Jean d'Estournelle de Constant, and Fernand Bourgeat, secretary.
12Among the female candidates, the first prize was accorded unanimously to Mlle. Ventura, more perhaps for her rendering of "Richard III" than from the scene from "Phèdre." This young artist promises well, but it will be some time before her course of study realizes the promise. Her striking beauty and undeniable natural gifts should enable her to come out in the foremost rank, if she corrects her undeniable defects of taste and incompleteness of training.
14Second prize—Mlle Bogros, in "Antigone," and Mlle. Barjac, Mr. Bacqué. Honorable mention—First, Mr. Grétillat and Mr. Dénis. So much for tragedy.
16In comedy, the judging was as follows:
18First prize, Mr. Brou, in a scene from "Rantzau"; first honorable mention, Mr. Lluis, in "Mercadet"; second, Mr. Juvenet, in a scene from the "Père Prodigue."
20Among the ladies, the first prize was given to Mlle. Bergé, who chose the rôle of Simone in the "Mariage Blanc." Her right to this prize is indisputable. Second prizes, Mlle. Corlys, as "Ingénue," and Mlle. Ventura, who gave an artistic rendering of the rôle of "La Princesse Georges."
22Honorable mention—First, Mlles. Lukas, Barjac, Lutzi and Magda; second, Mlles. Provost, Ludger and Lecuyer, all of whom promise well for the future.
24I must here say that in almost all cases the scenes chosen by the young candidates were too long; a choice of something shorter, which would have better displayed their capacities, would have been wiser.
26In the competition for Tragedy and Comedy, the young lady who obtained the first prize in tragedy and the second in comedy deserves some special mention, as she will certainly be heard of later. Mlle. Ventura is a very interesting artist. Even when she is not perfect, she is delightful, and in spite of the violence of emotion which she displayed both in "Phèdre" and in the "Princesse Georges," she never lost a certain feminine delicacy, which, in addition to her extreme beauty, could not fail to influence the jury.
28To sum up the results of these important examinations, there were ten competitors in tragedy and twenty in comedy. In tragedy, one first prize, three second and two honorable mentions. Six out of the ten candidates carried off rewards.
30In comedy, two first prizes, two second prizes and nine honorable mentions—thirteen rewards out of the twenty places possible.
32Last year, ten pupils went up in tragedy and twenty-eight in comedy. In tragedy there were two first and two second prizes; three honorable mentions. In comedy, four second prizes and six honorable mentions, in all ten recognitions for twenty-eight competitors.
34According to traditional custom, the members of the jury in the tragedy and comedy examinations met during
36Concours du Conservatoire
37LES PROFESSEURS DE TRAGÉDIE ET DE COMÉDIE
39EXAMINERS AT THE CONSERVATOIRE. (From the Paris Figaro.)
41It is doubtful whether the Conservatoire examinations next year in Tragedy and Comedy will be held again in the Opéra Comique, or, as formerly, in the Hall, Faubourg Poissonnière. On this subject a conversation was had a day or two ago with one of the professors, who gave as his opinion that especially in the tragedy and comedy competitions, the presence of a crowd of inquisitive non-professional spectators disturbs both pupils and professors more than any expression of public opinion could possibly be to their advantage. Such competitions, to be really a test, should take place in the Conservatoire itself, and only in the presence of competitors and their judges. Even the press would be better excluded, for it is no more necessary to inform the general public, through the medium of newspapers, that Mlle. A. and Mr. B. acquitted themselves well in a scene from Molière or Sardou than it is to give a report of the prowess of our young collegians at their term examinations. When our dramatic pupils have finished their studies, and are in a position to confront the public from behind the footlights, it will be time enough to give an account of their qualities, and the public will then be in a position to applaud or condemn them. In their chrysalis stage, they only interest themselves, their relatives and their professors, unless we count the few hundred persons whose duty it is to keep an eye on promising future artists for the sake of their own professional aims.
43The many observations which have reached him on this subject have made such an impression on Mr. Dujardin-Beaumetz that he has undertaken to look into the question, and decide according to what may seem to be the best for the interests of the young competitors.
45The scenes which took place at the Opéra Comique during the examinations of the Conservatoire bring up the question: Should these examinations be held in public?
47If the public are to be present, why is their opinion not taken into account? If their opinion is not to be taken into account, why ask them to be present?
49It may be urged that in making up their minds the jury are influenced not only by the actual performance of the candidates at the time, but also by the reports sent in by the institution. But then, what have the public to do with this? The advertisement of immature artists by the press cannot but be injurious to them, and the publicity given to the decisions of the jury through the same agency is often unpleasant, though justifiable. The idea of having the young artists judged by the public on whom they will have to depend in the future is not a bad one, but then that judgment should receive support instead of being disregarded. The dramatic displays themselves are conducted in a ridiculous fashion, for the candidates are not allowed the accessories of costume and staging, which are essential to make the scenes intelligible.
51It might have been known that the way in which the tickets of admission to the Conservatoire competitions were distributed would give rise to a traffic in them. As a matter of fact, they were on sale just outside the Opéra Comique. It was a mistake, anyhow, to send seats to people who were altogether outside the artistic world, and who did not want to go in broiling heat to listen to forty or fifty pieces of singing, tragedy or comedy. These tickets fell into the hands of the public and were turned into money.
53On one of the last days of the examinations, in a part of the hall where the audience were dissatisfied with the decision of the jury, and were making an uproar, one of the spectators was so specially noisy and violent that his neighbor, a journalist, remonstrated.
55"For heaven's sake, my dear sir, cool down a bit."
57"What does it matter to you?" replied the other. "I suppose I may protest if I like."
59"Of course not."
61"Beg your pardon. I paid for my seat as well as you."
63The journalist, who was a bit taken aback, thought he had to deal with a silly joker. But not so. The gentleman was in perfect earnest. He had paid ten francs for his seat—two francs more than at the theatre—and naturally he wanted his money's worth.
65The tenth day of the Conservatoire competitions was given up to the exercises in wind instruments. The attendance of the public was small.
67The jury were: Th. Dubois, president; Deslandres, Ch. Lefebvre, Bertelin, Gaubert, Letellier, Bleuzet, Dureau, Paradis and F. Bourgeat, secretary. The flute examinations were taken first, the test morceau being an Andante and a Scherzo by Louis Ganne, and a composition by Paul Véronge de La Nux was read at sight.
69First prize, MM. Joffroy and Laurent, both of whom acquitted themselves admirably. Second prize, no award. Honorable mention—First, MM. Hérissé and Bergeon; second, MM. Camus and Cléton.
71Nine candidates came forward for the oboe competition, and the first prize was unanimously awarded to Mr. Pon-
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