Books › Musical Courier 1907-12-04: Vol 55 Iss 23, 1907 › scan 10
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Musical Courier 1907-12-04: Vol 55 Iss 23, 1907
39 lines. Read by computer on 23 September 2026. Printed page 11. See the scan on archive.org.
1[Artists contemplating American engagements can secure valuable practical advice by consulting Mr. Delma-Heide, Paris representative of The Musical Courier.]
314 RUE LINCOLN, AVENUE DES CHAMPS-ELYSEES.
4CABLE AND TELEGRAM ADDRESS, "DELMACHEIDE," PARIS, November 18, 1907.
6I returned to Paris some days ago from a pleasant sojourn in sunny Italy—sunny when the sun shines! The most interesting experience I had there was the hearing of Giordano's "Marcella" in Milan, at the Teatro Lirico. The opera did not achieve a brilliant success, as MUSICAL COURIER readers know by this time from the cable sent to the paper by the regular Milan correspondent. Indeed, the new work was rather disappointing to his best friends, who had reason to believe—or thought they had—that the composer of "Andrea Chénier," of "Fedora" and of "Siberia" would show himself in closer touch with an inspiring muse and produce something to equal his best of the past. The story or book, entitled an "Idillio Moderno," is in three episodes and required as many makers or poets to write it. The names of Henry Cain, Edouard Adenis and Lorenzo Stecchetti all figure as authors of an "Idillio" that is little idyllic—scenes, or episodes as we have them in Paris without the trouble of writing, or of special making for an opera. What impression the story or the music of this new opera may have made on the Italian critics in Milan I know not; have not the slightest idea, for I purposely have refrained from reading any newspaper review or opinion on the performance until this letter of mine shall have been confided to the post and started on its journey across the Atlantic. But I can give you a faithful account of how "Marcella" was received by an audience wrought up to a high pitch of expectancy—bristling with nervous tension and excited imagination.
8My good friend and better self, A. N. Dante, having left me to my fate in this delightful country—I shall not draw on the imagination for impressions, or opinions, but offer you simply a plain, matter of fact record of "minutes" taken when not observed by a charming neighbor on either side—the right and the left. The first scene contained some pretty and pleasing music, a commonplace valse tune for the red coated stage orchestra and a song, well sung and applauded. This first act, or rather episode, required forty minutes in its performance—at the end of which there was some applause and considerable hissing. Amid lots of noise and seeming confusion caused by the conflicting reports of approval and fault finding—of applause and hisses with cat calls—the artists received one call and in a second call the name of the composer was distinguished; but Giordano—whether in the house at the time or not—could not be discovered and brought forth to the footlights. Be that as it may—the composer could not be found during the entire evening. After a thirty minutes' intermission—required for removal and change of scenery—the second episode, a scene of twenty minutes' duration, was enacted and rewarded with the most genuine applause imaginable, hearty, long and strong, without a dissenting voice, without a hiss or disapproving whisper heard; Giorgio's solo, "O mia Marcella! Abbandonarti?" sung by the tenor De Lucia with exquisite taste and expression, had to be repeated amid a storm of applause. Then, gliding through a five minutes' "Intermezzo," ushered in by a short prelude of soft and sonorous music—which the audience wanted repeated—this second episode closed with deafening applause threatening to raise the roof. This time five curtain calls were noted for the artists—three with the conductor, Perosio. The many loud calls for the Maestro Giordano proved ineffective to bring that gentleman to the front.
10During the ensuing intermission preceding the third act, or final episode, I had occasion to note the appearance of the audience and to compare it with a "first night" house in Paris or in New York. The light, bright Parisian effect was lacking, owing to the fact that the ladies in the auditorium, as also in the balcony and in the boxes, were permitted to wear their hats—in many cases large, dark monsters of headgear; instead of being tiny "dreams" of the milliner's art—and this difference in head dress created a somber surrounding in strange contrast to the brilliant electric lighting high overhead.
12This description of hat wear and its effect will serve to prepare the reader for a drop or lowering of spirit in the final act. He will need this preparation or gradual let down to be spared the shock of reaction—the sadness of disappointment and shattered expectation. Giorgio abandons Marcella in this last scene, and the abandoned girl, after giving expression to her sorrow in a great song (that should have been), sinks to the ground, overwhelmed by grief—and dies. In this last scene Bellincioni was found wanting. This artist is a greater actress than a singer. The final act—a sort of love and grief stricken death for the heroine—is a tragic vocal performance, which the celebrated "protagonista" failed to demonstrate. At the close of the opera the audience got up silently, standing for a moment as if dazed or stunned, unable to express anything for or against, and without the sound of a handclap, dispersed and went home—the theater soon being left in darkness! Was it a success—you ask? Was it?
14The duration of the opera was two hours and a half. The production as a whole was excellent and showed very careful preparation in every direction.
16Here are the names of some of the many musical people met by me in Milano: Baron Natili, Kathryn Carylna, tenor Herman Crenson, tenor Mollica, Franco Fano, Rosalind Billing, Marie Siersdorfer, Michael Siersdorfer, Mr. and Mrs. Frank Gruber, Mrs. Grazia Misick, Sebastiano Breda, Signora Breda, Signor Lusardi, the director of La Scala Gatti-Casazza; Signor Cottone, Signor Manno, Giuseppe Levi, Lucia Baragli, Mary Carson (Kidd) and her aunt, the British Vice Consul Tweedie, Rev. Mr. Kuppin, tenor Walter Kirby, Isabelle Curl, Signora Morona-Castaldi (Miss Meyers of Baltimore), Mr. Landoni, Pearl Andrews, Miss Bruce, Dollie Pattison, THE MUSICAL COURIER Milan correspondent, Signori Sansone and Cannella, Impresario Sant' Angelo, Signor d'Ormeville, Signor Quevedo, Professor Mottino, tenor Kerwin, basso Alfredo Fano, tenor Boehmer, Mr. Herman, Maestro Giordano, composer of "Marcella"; Dr. Lorenzo Sonzogno, the American Consul, Mr. Dunning; Signor Castellano and others whose names do not come to me at this moment.
18Here in Paris on my return I found scores of concerts announced, the like of which begin, end and crowd the entire season here from October to July, yet whose purpose in existing only excites wonder, and the query, never yet answered: "Why will some people persist in giving concerts?"—a question raised before in these columns, when some curious responses were received, but which could not face publicity.
20The great Sunday afternoon orchestral concerts are in full swing. Yesterday, at the Châtelet, the German tenor, Alois Burgstaller, appeared with the Colonne organization in several Wagner excerpts and a group of three songs by Rubinstein, Strauss and Schumann (though the program read Hugo Wolf). Mr. Burgstaller is of commanding height and sympathetic in appearance and would make a fine looking Lohengrin or Siegfried, from which heroes of Wagner's creation he yesterday chose the "Recital of the Grail," the "Song of the Forge" and "Siegfried's Death Scene" from the "Götterdämmerung" for reproduction, being assisted in the latter number by M. Jan Reder (Gunther) and M. Sigwalt (Hagen). The visiting tenor's singing evoked much applause, particularly in the "Götterdämmerung" music in which he received several recalls to the stage. Schumann's lied, "Ich grolle nicht," is a great favorite with Parisian audiences, and the Châtelet's public yesterday lived up to "traditional methods"—demanding, its repetition, with which Herr Burgstaller was pleased to favor his and Schumann's admirers. The orchestral numbers of the program were the symphony No. 3, "Eroica," of Beethoven; Cl. Debussy's "Prélude à l'après-midi d'un Faune" and G. Dupont's curious and melancholic inspiration "Les Heures Dolentes."
22Francesco Gruber and Mrs. Gruber are leaving on the Europa, the Navigazione Generale liner, November 19, for a visit to New York. Returning to Milan Mr. Gruber will continue his career as an opera tenor.
24On the Sunday previous, M. Colonne being absent in Russia, the music was conducted by Willem Mengelberg, of the Concertgebouw, in Amsterdam, who, from all accounts, achieved a splendid success as a conductor, excelling in precision of rhythm, in effects of color and in the clearness given to confused and entangled passages. Mengelberg's program included the Beethoven "Coriolan" overture, the "Symphonie pathétique" of Tschaikowsky, and "La Vie d'un héros" ("Heldenleben"), of Richard Strauss.
26Yesterday's concert of the Lamoureux Orchestra, at the Salle Gaveau, was conducted by Paul Vidal, of the Opera, owing to a slight indisposition on the part of M. Chevillard, who usually presides over this body of musicians. The program contained Beethoven's first symphony, C. major; a first audition of a poème symphonique entitled, "En Bohême" by Balakirev, based on three national airs or hymns of Bohemia; Saint-Saëns' fourth concerto for piano, played by Maurice Dumesnil; Lyric suite by Grieg—I. Le jeune Pâtre; II. Marche rustique norvégienne; III. Nocturne; IV. Marche des Nains; closing with Massenet's overture to "Phèdre."
28At the Marigny the program of the Nouveau Concert Populaire, under Fernand de Léry's direction, included among other things, the A. major symphony of Beethoven; Saint-Saëns' "Le pas d'armes du roi Jean;" Bourrée by Bach; concerto for piano, A. major, Mozart, (Mlle. Celiny Richez); Beethoven's "Coriolan" overture; Sérénade, by Elgar; "Marche Troyenne," by Berlioz.
30The Capet Quatuor (MM. Capet, Tourret, Bailly and Hasselmans), yesterday afternoon in the salle of the Conservatoire, performed three Beethoven quartets, op. 18, No. 1; op. 95; and op. 127. The Capet club interprets the Bonn master's chamber music in a most satisfying manner.
32In the evening, the regular atelier reunion of the students took place at the Académie Vitti, Boulevard Montparnasse, the program being composed of a "Cantilène" and an "Intermezzo," two pieces for 'cello and piano by that interesting composer-pianist, Mme. F. de Faye-Jozin, who played the piano part, and Edouard Delhaye taking that of the 'cello; later the cellist was heard in "Chants Naïfs," his own composition, and a "Sérénade" written for 'cello by Kubelik. Mrs. T. R. Chambers' vocal contributions were "La Mort de Jeanne d'Arc," by Bemberg, and "I heard the Voice of Jesus," as composed by Homer Bartlett; accompaniments were played by Jean Verd. The Rev. Dr. Shurtleff chose "The Word and the Voice" for his address to the students.
34There was a students' meeting on the Sunday previous, I understand (while I was absent in Italy), the vocal part of the program being contributed by the excellent baritone, Mr. Oscar Seagle.
36The Trio Chaigneau—three sisters, Thérèse, Suzanne and Marguerite—with Mme. Jeanne Raunay, the well known singer, provided an interesting evening of music at the Schola Cantorum. These sisters are always delightful musicians whether heard in ensemble playing, or individually. On this occasion they performed three trios—the first by Joseph Jongen, one of Haydn in F (No. 25), and closing with op. 99 in B flat by Schubert. Madame Raunay charmed with her talent and skill as an interpreter, displaying musically style and finish. Her selections consisted of a group of songs by Duparc, De Castillon and Debussy; and later on the Beethoven cycle, "A la bien aimée absente" ("An die ferne Geliebte").
38Concerts of the Nouvelle Société Philharmonique will this year be given in the new Salle Gaveau. The list of
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