Scan 18
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
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1THE METROPOLITAN OPERA.
3Donizetti's "Lucia," December 12.
4Lucia ………………………………………….. Sembirch
5Edgardo ………………………………………….. Caruso
6Alisa …………………………………………….. Mattfeld
7Enrico …………………………………………… Stracciari
8Raimondo …………………………………………. Journet
9Arturo ……………………………………………. Bars
10Normanno …………………………………………. Paroli
11Conductor …………………………………………. Vigna
13Nothing new was offered in the Metropolitan production of "Lucia," for Sembirch and Caruso sang the two chief roles, and they are both so familiar here in their excellent interpretations of those parts that special comment is not called for at this time. The great soprano was in fine fettle and gave an inspiring exhibition of flawless cantilena and effective coloratura. In the "mad scene" she repeated her old time triumphs with that imperishable bit of vocal fireworks. Caruso also was at his best, and what that is need not be told in a city where he has been exhibiting his art so long. As Edgardo he acted with force and impressiveness, and sang with all that lavish outpouring of tone and but with a distinction and a difference. Plançon, as Laurent, was a clubman disguised as a priest, and Jacoby did exceedingly well as Stephano. Bovy, the conductor, played ducks and drakes with the tempi, but the audience did not seem to mind very much, probably because it would not have recognized the proper tempi if they had been employed.
15Giordano's "Fedora," December 15 (Matinee).
16Fedora ………………………………………….. Cavalieri
17Olga ……………………………………………… Alten
18Dimitri …………………………………………… Mattfeld
19Un piccolo Savojardo …………………………… Jacoby
20Loris Ipanov ……………………………………… Caruso
21De Sirix ………………………………………….. Scotti
22Desiré …………………………………………… Paroli
23Il Barone Rouvel ………………………………… Paroli
24Cirillo ……………………………………………. Bégue
25Borov ……………………………………………. Mühlmann
26Grech ……………………………………………. Dufrihe
27Lorek …………………………………………….. Navarini
28Boleslay ………………………………………… Voghera
29Conductor …………………………………………. Vigna
31Everything good that THE MUSICAL COURIER said of the first "Fedora" performance can be repeated enthusiastically of the second. The music of the opera improves with further hearing, for at the première the swiftness of the action on the stage and the rapid instantaneous changes in the character of the score as it follows the phases of the drama, made it impossible to fix in the mind all the clever touches of orchestration, the skillful employment of harmonic half-tints, and the abstract beauty of many of the melodies, short-breathed and broken of line though they were. The nature of "veristic" opera calls for just such musical treatment, and in it Giordano is a master. Those who do not like that sort of an opera will not like Giordano's music. It is a fortunate thing, however, that the world is large, and tastes are varied, and that New York has two opera houses! Bellini, Verdi, Gounod and Donizetti are still being sung, and should delight that part of the public which believes in making all music over the last of long ago.
33Cavalieri again exhibited her lovely middle tones, her impassioned acting, and her daring V-shaped gowns. Caruso repeated his triumphs of the "Fedora" première, and sang with ravishing tonal opulence and convincing fervor. The rest of the roles were in competent hands—or shall one say, throats?
35Wagner's "Tannhauser," December 15 (Evening).
36(In German.)
37Elizabeth ………………………………………….. Fleischer-Edel
38Venus …………………………………………….. Weed
39Ein Hirt ………………………………………….. Mattfeld
40Tannhäuser ………………………………………. Burrian
41Wolfram ………………………………………….. Goritz
42Landgraf Hermann …………………………… Blass
43Walther ………………………………………….. Reiss
44Heinrich ………………………………………….. Bayer
45Biterolf …………………………………………… Mühlmann
46Reinmar ………………………………………….. Gunther
47Conductor …………………………………………. Hertz
49The popular priced performance presented a familiar cast, with the exception of Marion Weed, in the part of Venus. She sang with splendid authority (gained in her Bayreuth appearances) and acted with ardor. Weed's voice is of a peculiarly warm, rich timbre, and, therefore, admirably suited to such a part as Venus. In appearance, too, she gave an attractive presentment of the seductress. Burrian and Fleischer-Edel again gave good, solid impersonations of the chief roles, the kind of impersonations which would win approbation in German provincial towns, where admittedly the best performances of the earlier Wagner operas are given. Mattfeld, as the shepherd, was the only blemish in the good ensemble, which included the extraordinarily laudable work of Blass, Goritz and Reiss-Hertz's conducting did much toward accomplishing the satisfactory results achieved.
51Puccini's "Bohème," December 16.
52The fascinating Puccini opera was given with the usual cast and the usual success. Caruso and Sembirch were both in fine fettle and outdid themselves in song and action. A large audience applauded enthusiastically.
54Savage Pleases the Professionals.
55Henry W. Savage will present three prima donnas in the title role of "Madam Butterfly" at the professional matinee of Puccini's fascinating Japanese opera, which will be given at the Garden Theater this afternoon.
56Florence Easton, the English prima donna from Covent Garden, will appear in the opening act; Rena Vivienne, the American girl, who was developed by Mr. Savage, will interpret the character during the second act, and Elza Szamosy, the Hungarian prima donna, from the Royal Opera at Budapest, will be seen during the tragic third act.
57This will mark the first occasion on record for a single role to be sung by a trio of prima donnas at the same performance. Mr. Savage was persuaded to arrange the extraordinary program by the stacks of letters from musicians and grand opera singers who wished to hear some particular one of his prima donnas. With a desire to please every one, Mr. Savage finally decided upon introducing all three singers at a single performance, selecting each for the act that she seemed most fitted to portray. Miss Easton makes innocence the high light of Madam Butterfly's character, showing in the first act the Japanese maiden with winsome trustfulness, making of her faith in her lover a religion, to which she clings until it is killed by the man in whom she believes.
58Miss Vivienne, in the second act, throws into strong relief the devoted wifefulness of Butterfly, the patient faithfulness that gives her strength to stand all night peering through the shoji for the man who has forgotten. In the final act Mme. Szamosy shows the other side of Butterfly's character, a girl who hides beneath the polite veneer of a Japanese maiden, a soul full of emotional fire.
60Maconda Triumph in Detroit.
61DETROIT, December 14, 1906.
62Charlotte Maconda firmly established herself as a favorite with that portion of the musical public which heard her Thursday evening when she appeared as soloist with the Detroit Symphony Orchestra at the first concert of the present season by that organization. Madam Maconda made many friends in this section at her first appearance with the local orchestra two seasons ago, and added to her laurels at her appearance in the Ann Arbor Festival some six months ago. Her principal number last evening was the aria from "La Traviata," which was given an authoritative rendering, and she received a genuine ovation from those present. It is safe to say that the orchestra will not present a more popular soloist during its present season.
64Election of Officers of Musical Union.
65The annual election of officers of the Musical Mutual Protective Union Local 310 A. F. of M., was held in the club house on East Eighty-sixth street on Tuesday, December 11. With the exception of the treasurer, every office had two or more candidates. The presidency was sought by four members. Maurice F. Smith was elected by several hundred votes. Carl Hackert made a good showing, but not quite as well as last year, when he ran about 150 votes behind for president. The result of the election was as follows: Maurice F. Smith, president; Henry Gieseman, vice-president; E. A. Hauser, treasurer; Frank Evans, secretary; Herman J. Murholz, financial secretary.
66The trustees chosen were Ernest F. Erdmann, Louis Hahnenberger and Philip Hauser.
67Executive Committee—Alexander Davis, Sr., Daniel Bruno, Edward Hess, August Reichert, Myles Sweeney, John Wilson.
68Delegates to C. F. W. of New York—Peter Berlinghoffer, Edward Canavan.
69Delegates to C. L. U. of Brooklyn—Michal J. Flaherty, Charles Smith.
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