Scan 4
Musical Courier 1906-09-05: Vol 53 Iss 1380, 1906
55 lines. Read by computer on 23 September 2026. Printed page 5. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1PARIS
3CHAMPS ELYSEES, NEAR THE MUSICAL COURIER'S PARIS OFFICE.
514 RUE LINCOLN
6AVENUE DES CHAMPS-ELYSEES,
7PARIS, AUGUST 20, 1906.
9[Artists contemplating American engagements can secure valuable practical advice by consulting Mr. Delma-Heide, Paris representative of THE MUSICAL COURIER.]
11"Faust" and "Roméo et Juliette" of Gounod are record breakers just now at the Paris Grand Opéra, attracting larger American audiences than would be possible in New York, or in any world city outside the "Ville Lumière." The house simply swarms with Americans at this season. While the magnificent staircase and general interior of the house well deserve a visit from the traveling public, there is little in the musical, or rather vocal portion of the performances to command admiration, as several of the principal singers, or stars, are away enjoying a short vacation during the summer months. The orchestra is composed of splendid material and capable of doing fine work under proper guidance; the same may be said of the chorus. The ballet is superb and the scenery excellent; but the singers and the singing—leave much to be desired.
13Answering a correspondent, the Figaro says: "The opera entitled 'La Vestale,' which we are to hear this winter, has the following history: It was composed in 1807 by Spontini, with libretto by Jouy, and it is in three acts. The libretto was at first refused by Méhul and Cherubini, and when the jury of the Opéra had to judge the score they found all sorts of faults in it. They declared that the style was bizarre, the harmony defective, the orchestration noisy, and some passages absolutely incomprehensible. In fact, so doubtful were they of the success of the work that it was only after a year's rehearsal that it was at last produced. Spontini was obliged to make so many alterations in his score that the cost of copying amounted to 10,000 francs. The result, however, of all these precautions was that 'La Vestale' was a brilliant success, and remained in favor during a number of years.
15"The parts were allotted as follows:
16"Julia ……………………………………… Mme. Branchu
17"The Chief Vestal ……………………….. Mme. Maillard
18"Licinius ……………………………………. M. Lainez
19"Cinna ……………………………………… M. Lays
20"The High Priest …………………………… M. Derivis
22"On March 16, 1854, the opera was revived, the artists being Mmes. Poinso, Sophie Cravelli, and MM. Roger, Obin and Bonnehée."
24At the same time Mercadante, of the Théâtre Italien, gave an operette in three acts, which was also entitled "Vestale," the artists being Mmes. Grisi, Albertazzi, and MM. Mario, Morelli and Tamburini.
26Widor is to compose the music of a lyric drama written by Auguste Dorchain, author of the "Conte d'Avril" and "Maître Ambros," as well as of a pantomimic piece entitled "Jeanne d'Arc," which was performed in 1890 at the Hippodrome. All these works have the music by Widor.
28The North sends us news of things going on in the South. A Belgian contemporary denies that a reconciliation has been effected between Mme. Duse and Signor d'Annunzio, or that the Duse has undertaken to interpret the poet's latest work, "Plus que l'Amour." Signor d'Annunzio is still looking out for some one to interpret his drama, since he can count on the support neither of Duse nor of M. Zacconi.
30The Emperor of Germany has forbidden the artists of the State theaters to sing into talking machines, under the penalty of losing their positions in the theater. His versatile Majesty has been forced to take this step by having acquired the conviction that the effort of recording the songs on the disks of cylinders of the gramophone is prejudicial to the voice of the artist, and results in many cases in vocal troubles which may cause permanent injury to the voice of even the most facile performer.
32Signor Puccini is in Italy, engaged on the score of his new work, which is entitled "La Femme et le Pantin," and the libretto is by Maurice Vaucaire.
34In Roumania it has been decided by the Government that the works of French authors will be protected in that country without having to go through the formalities of a deposit. This decision, which arose out of a recent copyright suit, is a good omen for the Congress of the International Literary and Artistic Society, to be held in Bucha-
36nito and was scarcely noticed. The second journey was made in company with the Empress in 1889, and the sovereigns were received in state by the Prince Regent of Bavaria. They stayed at the new palace in Bayreuth, and great festivities took place. Felix Mottl composed for the occasion a chorus for male voices, with orchestral accompaniment, and Wagner's 'Kaiser March' was performed under the conductorship of Harmann Léw. The Emperor was delighted by the performances of 'Parsifal' and the 'Meistersinger,' and he cordially complimented the artists and the relatives of the composer. But the Emperor did not return to Bayreuth, and he is said to have observed to the tenor, Paul Kalisch: 'Gluck is my favorite; Wagner is too noisy for me.'"
38Toto is an obedient little boy. When he came home from his school examination last week he said to his father: "You know, daddy, you told me to give up all I can to my schoolfellows and to put myself after them." "Yes, my boy; I told you to be unselfish; I hope you remember it." "Yes, daddy; I have left all the prizes for them to take."
40The Emperor William is not the only person to find that Wagner is noisy. A musician of note, Tchaikowsky, left letters written in 1876, in which he gives the following opinion of the composer: "Bayreuth has left me with a disagreeable impression, in spite of the success which I personally had there, a success which proved to me that I am better known than I had thought. But all the same, my impression is a disagreeable one, and it is caused by the terrific noise which I had to endure there. This noise ended, fortunately, on Thursday last, with the last strains of the 'Gotterdammerung.' I felt as if I had escaped from prison. The 'Nibelungen' operas may be works of genius, but all the same they are interminably tedious and insupportably noisy and fatiguing."
42The Under Secretary for Fine Arts has come to a decision with regard to the Carpeaux group, "La Danse," which it has been proposed to remove from the façade of the Opéra. Although the special commission appointed has not yet made its report, M. Dujardin-Beaumetz has given the assurance that the group will remain in its place.
44In the discussion which followed the present writer's query in his Paris letter: "Why is it that most American singers in Europe will so soon neglect and forget their own tongue? Surely the singing of good English is preferable to the poor or indifferent German and French heard on all sides—and, next to the Italian, the English language for singing is as good as any language known, and more beautiful"—it was clearly shown, in that discussion, that English is a decidedly singable language when well pronounced; and the same careful attention to English "diction" was advocated that is usually given to the study of French.
46That talented and well known American song writer, Eleanor Everest Free—whose lyrics are always well chosen and beautiful—in a second interesting communication on the subject writes: "Dear Mr. Delma-Heide—Now that we have about settled the question as to whether or not the English language be as good as any other to sing, in the affirmative, we must reflect why, perhaps, few of the songs in English have been sung publicly. Firstly, many of the English songs are poor; secondly, the poems used, poorer; and thirdly, the translations, alas! go beyond the superlative! So far there has been little incentive to sing English songs, although this does not excuse teachers who neglect English diction. I might have taken classic verse from French, Italian or German literature, but finding that our language was as good as another to sing, it seemed wrong longer to neglect our beautiful lyrics. One gentleman asked me: 'But where do you find the beautiful poems you have used?' I answered: 'In books!' What we want in England and America is a song literature to English classic verse (the music, naturally, up to the same standard), and thus give our artists songs to equal the Continental songs. We are not in this way neglecting the Continental writers, but simply doing our duty to the art loving English public, which is large. One German critic recently wrote to a Chicago woman: 'We have no need for nor interest in any but German songs.' I can hardly believe that the English speaking people are the only classes broad minded and generous enough to open their doors to the song literature of the world, and that other countries close their doors to any but the vernacular.
48"No matter how interesting this subject may become, I shall restrain myself and not again write about this matter." (This last decision to the regret of all MUSICAL COURIER readers.)
50From a French contemporary: "The recent telegram sent by the Emperor William to Cosima Wagner has distinctly disturbed the world of Wagnerian devotees. In this connection it is interesting to note that his Imperial Majesty has been at Bayreuth twice and only twice. The first time was when he was Crown Prince; he went there incog-
52Famous French Composers Series. No. 7.
54Alfred Bruneau
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