Scan 58
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
118 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 49. 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.
1now London is wondering when the oratorio will be heard in this town.
3Concerts of the Week.
5MONDAY.
6Mischa Elman's violin recital, Lucie Mawson's piano recital, John Bromley's vocal recital, Margaret Huston's vocal recital, London Symphony Orchestra, Dr. Joachim's Brahms concert, M. Edouard Risler's concert of Beethoven's sonatas, Alcibiade Anemoyanni's violin recital.
8TUESDAY.
9Richard Buhlig's piano recital, Sandor Raab's piano recital, Ruth Heyman and Monique Poole's piano recital, Irene Scharrer's piano recital.
11WEDNESDAY.
12Dr. Joachim's Brahms concert, Victor Maurel's recital, Dalton Baker's song recital, Mania Seguel's piano recital, Erwin Goldwater's violin recital, Geoffrey Besant's chamber concert, Ada Thomas and Charles Bennett's piano and vocal recital.
14THURSDAY.
15Chamber concert, Aeolian Hall, Risler's Beethoven recital, Margaret Hope's vocal recital, Stock Exchange Orchestra and Choral Society's concert, Myra Liardet and Mr. Karpel's vocal and violoncello recital, Broadwood concert, Alexandra von Radojewaska's piano recital.
17FRIDAY.
18Walter Ford's concert-lecture, Leighton House; Lilian Welsman and Paul Kochanski's vocal and piano recital, H. Martyn van Lennep's concert.
20SATURDAY.
21Chappell Ballad concert, Ellen Bowick's recital of Dickens' Christmas Carol, Edith Pratt's concert, Orchestral concert, Crystal Palace; Amy Rolda and Aldo Antoinetti's vocal and violin recital.
23SUNDAY.
24London Symphony Orchestra, Royal Albert Hall; Queen's Hall Orchestra, Queen's Hall.
26A. T. KING.
28Edward Johnson's Best Season.
29During the past few weeks Edward Johnson has filled a number of engagements that have been quite worthy of notice, and before the first of the year he will have appeared in others of equal importance, notably Toronto, Chicago and New York. After January 1st there have been made for him through his manager, Henry Wolfsohn, some excellent bookings. Mr. Wolfsohn declares this will be Mr. Johnson's biggest and best year. Mr. Johnson has sung in the following cities since he returned from Europe, October 1st:
30October 5, Bangor, Me.; 7, New York; 9, Portland, Me.; 14, New York; 15, Philadelphia, Pa.; 21, New York; 24, Danbury, Conn.; 25, Waterbury, Conn.; 28, New York; 30, Norwalk, Conn.; November 1, Brattleboro, Vt.; 2, Holyoke, Mass.; 4, Boston, Mass.; 11, New York; 13, Hackensack, N. J.; 15, Boston, Mass.; 18, New York; 20, St. Paul, Minn.; 25, New York; 27, Gloucester, Mass.; 29, New York; December 2, New York; 4, Minneapolis, Minn.; 9, Montclair, N. J.; 11, New York; 16, New York; 19, Chicago, Ill.; 23, New York; 25, New York; 26, Toronto, Canada; 27, Toronto, Canada, and 30, New York.
32Witherspoon Song Recital January 10.
33Herbert Witherspoon, the basso, will give his annual New York recital, at Mendelssohn Hall, January 10. His program will include a number of novelties.
35WATERHOUSE
36G. MAGNUS
37STUDIO
38No. 404 CARNEGIE HALL
39NEW YORK CITY
41SCHUTZ
42(Vocal Instruction)
44SIGNOR CARBONE
45THE EMINENT SPECIALIST IN VOICE PRODUCTION
46For Eleven Seasons Leading Member with Metropolitan Grand Opera Co.
47ART OF SINGING FROM BEGINNING TO FINISH.
48(ITALIAN METHOD.)
49Carnegie Hall, Suite 601-602, New York.
51Season 1906-7 Entirely Booked
52Season 1907-8 Now Booking
53SCHUMANN-HEINK
54SIGISMOND STOJOWSKI
56DAVID BISPHAM IN
57"THE VICAR OF WAKEFIELD."
58The Manchester Press and the correspondents from the London papers united in according David Bispham high praise for the artistic quality of his production of "The Vicar of Wakefield." Hugh Moss was the stage director. The first performance on any stage of this new opera took place on Monday, November 12, at the Prince's Theater, Manchester. The cast was as follows:
59Dr. Primrose ………………………………………….. David Bispham one of two readings
60Dr. Primrose …………………………………………..David Bispham one of two readings
61Mrs. Primrose ………………………………………….. Mrs. Theodore Wright one of two readings
62Mrs. Primrose …………………………………………..Mrs. Theodore Wright one of two readings
63Olivia ……………………………………………………. Violette Londa one of two readings
64Olivia …………………………………………………….Violette Londa one of two readings
65Sophia ……………………………………………………. Edith Clegg one of two readings
66Sophia …………………………………………………….Edith Clegg one of two readings
67Moses ……………………………………………………. Arthur Eldred one of two readings
68Moses …………………………………………………….Arthur Eldred one of two readings
69Dick ……………………………………………………… Master Gordon Travis one of two readings
70Dick ………………………………………………………Master Gordon Travis one of two readings
71Bill ……………………………………………………….. Elfin Arthur one of two readings
72Bill ………………………………………………………..Elfin Arthur one of two readings
73Mr. Burchell …………………………………………….. Richard Temple one of two readings
74Mr. Burchell …………………………………………….Richard Temple one of two readings
75Squire Thornhill ……………………………………… Walter Hyde one of two readings
76Squire Thornhill ………………………………………Walter Hyde one of two readings
77Mr. Jenkinson ………………………………………….. C. Oram Lander one of two readings
78Mr. Jenkinson …………………………………………..C. Oram Lander one of two readings
79Farmer Williams ……………………………………… Powis Pinder one of two readings
80Farmer Williams ………………………………………Powis Pinder one of two readings
81Lady Blarney ………………………………………….. Amy Martin one of two readings
82Lady Blarney …………………………………………..Amy Martin one of two readings
83Miss Skeggs …………………………………………… Valerie de Lacy one of two readings
84Miss Skeggs ……………………………………………Valerie de Lacy one of two readings
85A Gipsy …………………………………………………. Bella Wallis one of two readings
86A Gipsy ………………………………………………….Bella Wallis one of two readings
88Some press opinions follow:
89It was certainly a happy thought to turn Goldsmith's "Vicar of Wakefield" into an English opera, the only wonder is that its tender charm, its delightful blend of pathos and humor, which is so suggestive of lyrical expression, should not have inspired a composer before now. The arrangement of the story for dramatic purposes necessarily simplified it greatly. Yet, so far as it goes, it is faithful to the original. But what is more material, its idyllic spirit has been carefully preserved.
90Since the days of "The Beggar's Opera," the music of which was actually composed of traditional songs, there have been few works so full of the spirit of English song as this. It is not pretentious, but it is always artistic, and the fragrant aroma of the story is well preserved.
91The general impression left by this sweet and wholesome work is that it represents a most welcome departure, and it will be interesting to note if a public, surfeited with comic opera that is only a variety entertainment slightly disguised, will have a sufficiently clean palate to appreciate such refined and delicate fare. Mr. Bispham sang like an artist and gave a most sympathetic, warm and genial interpretation of the Vicar's part, making the most of its lighter aspects and rising to heights of a deep emotion that was never overstrained. The stage management was excellent, the grouping so artistic that the art was not obvious, and the three scenes of the Vicar's Garden, the Cornfield, and the Interior of the Vicar's Cottage were excellent settings, the beautiful back-cloth which Mr. Harker has provided for the first scene deserving especial praise as a really artistic piece of work.—Yorkshire Post.
92The music by Liza Lehmann is beyond doubt a great improvement on the music one generally hears in light operas. It has charm and often delicacy of expression, and like almost all her work, has a touch of sentimentality, which is a welcome protest against the coarseness which seems to reign supreme in light opera. The work undoubtedly won the favor of the audience. Many of the songs were encored, and throughout the evening there were evident signs of appreciation on the part of the public.—Manchester Guardian.
93I am quite certain that those responsible for this delightful and successful musical piece, founded on Goldsmith's well known novel, would be the first to admit that they had not used every possible situation to be found in the book, nor do they for one moment wish to do so. The skillful adapter uses his brains as in Mr. Bispham's new piece, and selects what he thinks would be for the best and most suitable for musical treatment. In my humble opinion this play is very cleverly arranged, and all concerned are worthy of great praise. I fairly revelled in Liza Lehmann's very tuneful and classy music. Mr. Bispham is so well known as an accomplished singer and actor that I need only say that he did not disappoint any of his severest critics. Such a splendid fellow is seldom seen in musical plays; his artistic singing was indeed a rare treat.—Weekly Chronicle.
94If the success of a work of this kind depends on clever lyrics set to music which is sometimes more than clever, there can be no doubt about the future of the new production. It will be sure of a hearty welcome and a long run. The music is never dull, many of the melodies gain an instantaneous success, there is a sustained capacity for invention, and some skillful adaptation.—London Dispatch.
95The ambitious attempt to produce a musical work that should be something less than grand opera, and a good deal more than musical comedy, with Goldsmith's "Vicar of Wakefield" as the story, succeeded, if not to the highest degree, at all events to a degree which was distinctly encouraging. The first performance on Monday at the Manchester Prince's ran with a smoothness that betrayed excellent rehearsing. So admirable was the singing, and so delightful the music that encores were almost too frequent. When Mr. Bispham has made a few necessary alterations he ought to be proud of his first effort to give the public an interesting theme with more than interesting music. It is indeed a laudable effort.—London Sunday Chronicle.
96Converted into an opera, "The Vicar of Wakefield" made its first appearance before the public last night, the Prince's, Manchester, being chosen for the preliminary week's trial by which its future success or failure is to be gauged. A well filled house and an enthusiastic audience did much to encourage the performers, and at the close David Bispham gave a short speech expressing his delight at the unqualified approval with which the production had been greeted, and Liza Lehmann, the composer, responded to repeated calls for the author. The choruses were excellently given, and the staging and scenery call for unstinted praise. To have such a talented musician as Hamish MacCunn in the conductor's seat is a great honor to the company and to the audience.—London Daily Mail.
97It is sweet, melodious and attractive. It has, too, a quality of gracefulness which never fails. The representation is excellent, David Bispham who, of course, plays the quaint and kindly Vicar, needs no introduction. He has won his spurs. The combination of capable acting and excellent singing is not too common, but he possesses it and brings it out to the full as the Vicar.—London Evening News.
99GENEVIEVE CLARK
100WILSON
101SOPRANO
102MARY BYRNE-IVY
103CONTRALTO
104CECIL JAMES
105TENOR
106CHARLES NORMAN GRANVILLE
107BARITONE
108FRANK CROXTON
109BASSO
110SOLE DIRECTION
111WALTER R. ANDERSON
1127 W. 42d ST., NEW YORK
113DIRECTION:
114HENRY WOLFSOHN one of two readings
115HENRY WOLFSON one of two readings
116131 East 17th St.
117NEW YORK
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