Books › Musical Courier 1907-12-04: Vol 55 Iss 23, 1907 › scan 26
Scan 26
Musical Courier 1907-12-04: Vol 55 Iss 23, 1907
188 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1METROPOLITAN OPERA CASTS.
3"Boheme," Wednesday Evening, November 27.
4Mimi ………………………………………….. Sembrich
5Musetta ………………………………………… Dereyne
6Rodolfo ………………………………………….. Bonci
7Marcello ………………………………………… Stracciari
8Colline ………………………………………….. Journet
9Schaunard ……………………………………… Bégué
10Benoit ………………………………………….. Dufrièche
11Alcindoro ………………………………………. Barocchi
12Parpignol ………………………………………. Techi
13Sergente ………………………………………… Navarini
14Doganiere ………………………………………. Dragoni
15Conductor, Ferrari.
17"Mefistofele," Thursday Evening, November 28.
18Margarita ………………………………………. Farrar
19Elena ……………………………………………. Rappold
20Pantalis ………………………………………… Jacoby
21Marta ……………………………………………. Girerd
22Mefistofele ……………………………………. Chaliapine
23Faust …………………………………………….. Martin
24Wagner ………………………………………….. Techi
25Nereo ……………………………………………. Techi
26Conductor, Ferrari.
28"Adriana Lecouvreur," Friday Evening, November 29.
29Caruso and Cavalieri headed the same cast that presented this opera earlier in the season here. Ferrari conducted.
31"Meistersinger," Saturday Afternoon, November 30.
32Eva …………………………………………….. Gadski one of two readings
33Eva ……………………………………………… Gadski one of two readings
34Magdalene …………………………………….. Mattfeld one of two readings
35Magdalene ……………………………………… Mattfeld one of two readings
36Walther von Stolzing ……………………. Knote
37Hans Sachs …………………………………….. Van Rooy one of two readings
38Hans Sachs ……………………………………… Van Rooy one of two readings
39Beckmesser ……………………………………. Gorit
40Pogner ………………………………………….. Blass
41Kothner ………………………………………… Mühlmann
42Vogelgesang …………………………………… Bayer
43Zorn …………………………………………….. Delwary
44Moser …………………………………………… Quesnel
45Eisslinger ………………………………………. Ricker
46Nachtigall ……………………………………… Dufrièche one of two readings
47Nachtigall ………………………………………. Dufrièche one of two readings
48Ortel …………………………………………….. Friedberg
49Foltz …………………………………………….. Gunther
50Schwartz …………………………………………. Watersous
51David ……………………………………………. Reiss
52Ein Nachtwächter …………………………… Dufrièche one of two readings
53Ein Nachtwächter ……………………………. Dufrièche one of two readings
54Conductor, Hertz.
56"Rigoletto," Saturday Evening, November 30.
57Gilda ……………………………………………. Sembrich
58Maddalena ……………………………………… Jacoby
59Giovanna ………………………………………. Girerd
60La Contessa …………………………………… Lawrence
61Un Paggio ……………………………………… Vail one of two readings
62Un Paggio ………………………………………. Vail one of two readings
63Il Duca ………………………………………….. Bonci
64Rigoletto ………………………………………. Stracciari
65Sparafucile ……………………………………. Journet one of two readings
66Sparafucile …………………………………….. Journet one of two readings
67Monterone ……………………………………… Mühlmann
68Marullo ………………………………………….. Bégué one of two readings
69Marullo ………………………………………… Bégué one of two readings
70Borsa …………………………………………….. Techi
71Ceprano ………………………………………….. Dufrièche one of two readings
72Ceprano ………………………………………… Dufrièche one of two readings
73Usciere ………………………………………….. Navarini
74Conductor, Ferrari.
76"The Flying Dutchman," Monday Evening, December 2.
77German essayists have declared Richard Wagner's "Flying Dutchman" as the model romantic opera, and the performance on Monday night at the Metropolitan, if properly grasped, confirms such a view. It is built on the Italian model and that means that it must be sung. Somehow or other, when Richard Wagner wrote notes which singers were to reproduce into living resonance, he intended that they should be sung. That is the general impression. Some of the singers do not seem to believe that. They believe that because Hans Sachs can pass muster in the declamatory style, everything Richard Wagner has written can be declaimed. Well, even if that were so, the declamation ought to tell the story without looking into the libretto, and Mr. Van Rooy didn't tell us anything in his declamatory style on Monday night. Nobody could hear his text; his enunciation was foggy, as the atmosphere was supposed to be. There can be no "Flying Dutchman" without Vanderdecken singing the role, and Mr. Van Rooy didn't even approach it. Some methods pursued in the cultivation of the vocal organ are sure to bring about the results that we now hear in Van Rooy's case. The whole vocal machinery is out of order, rusty and incapable of any singing results; yelling and bellowing and a few good notes do not constitute singing.
79In fact, the male roles were very unsatisfactory, unless we leave aside Danald, by Mr. Blass, who sang to some extent. Mr. Knote has a beautiful voice, but he doesn't seem to be taking any lessons from Caruso or Bonci. He goes on screaming at the highest pressure, irrespective of any consideration for his own voice. That will tell its tale soon now.
81Madame Gadski as Senta illustrated what singing means. The whole opera of "The Flying Dutchman" should be sung bel canto. It is an Italian opera, with the exception that the orchestra, instead of being a thin mandolin score is fat with instrumental substance. But the vocal score should be sung, and Madame Gadski fascinated the audience with a beautiful quality of voice, with an artistic delivery of round, full, luxurious tones, and, in fact, her interpretation, her acting and her singing were the features of the performance. The only exception one might take were those high-heeled French slippers on the cold Norwegian coast. However, everything can be forgiven when a woman sings with such artistic methods and with such grace and refinement as Madame Gadski did. Mr. Dippel sang like an opera manager. The score was read by Hertz with care and command. He knew the score. The nuances were brought out with distinction. He enabled the singers, if they wanted to do so, or if they knew how, to sing. He toned down everything for their service, but they didn't meet him, except Gadski. Mr. Conried gave an excellent exhibition of scenic effects so far as possible on the stage, with this demand that is made by Wagner in his nautical devices. Of course, this is a legend. You can't expect to see ships like the ninety foot racers here at Sandy Hook when there is a contention for the America cup. The ships should be legendary and Mr. Conried conceived this exactly. There is no use to put a Mauretania and a Lusitania on the stage in "The Flying Dutchman," as some of the daily critics expect. There was steam enough in the last act as it was.
83Just one word more, and that is that there are a good many singers in the City of New York now that can sing bel canto, and those who cannot sing it should make some effort to approach it to some extent. Outside of Richard Wagner, there are a good many other composers who wrote notes that should be sung, not screamed and yelled, and there is no reason whatever for any management repeatedly to re-engage such men as Van Rooy, for instance, who have no more resonance or quality in their voices, and Van Rooy is not the only one; there are a dozen more on both stages. Opera is to be sung, so far as the vocal part of it is concerned. We have had so much declamation and yelling here in this country that we believe it is part of opera, but it isn't. To hear a beautiful work like "The Flying Dutchman" injured and the illusions destroyed by declamatory singing not intended or thought of by Wagner, at least at that time, is distasteful.
85American Institute Recital.
86Piano pupils of Kate S. Chittenden and May Ditto, violin pupils of Herwegh von Ende and voice pupils of McCall Lanham, gave a program at the American Institute of Applied Music Friday evening, November 29. The intelligent and artistic work of all who took part is deserving of the highest praise and attests the excellence of the instruction enjoyed by students of the Institute. The performers were: Misses Parker, Nugent, Anderson, Sells, McMartin, Besthoff, O'Brien, Peckham, Rogers, McCalla, Morrison, and Mr. Rice, Masters Katlarsky and Jacobson.
88Following is the December schedule of the classes and recitals to be held at the American Institute of Applied Music, beginning today at 2:30 p. m.:
90Wednesday, December 4th, 11th, 18th, 2:30 P. M.—Mr. Lanham's Normal Class.
91Wednesday, December 4th and 18th, 3 P. M.—Mr. Ambrose's History Class.
92Wednesday, December 4th, 4 P. M.—Mr. Mason's Lecture-Recital, "Beethoven."
93Thursday, December 5th, 12th, 19th, 11 A. M.—Theory Class, Adults.
94Saturday, December 7th, 14th, 21st, 9:30 A. M.—Theory Class, Elementary.
95Wednesday, December 11th, 4 P. M.—Mr. Mason's Lecture-Recital, "Beethoven and Romanticism."
96Wednesday, December 18th, 4 P. M.—Mr. Mason's Lecture-Recital, "Schubert."
97To be announced: Concert by the Flenzaley String Quartet, by courtesy of Edward J. de Coppet, Esq.
99Kreisler Featured in Pittsburgh.
100Pittsburgh, December 2, 1907.
101Fritz Kreisler is being featured as the soloist for this week's concerts by the Pittsburgh Orchestra. Pictures of the celebrated violinist have appeared in the Pittsburgh papers, and the musicians are taking an eager interest in the coming of this artist to the so called city of smoke and millionaires. The orchestra, under Emil Paur's direction, will perform the Schubert symphony in C major, the overture, "Coriolan," by Beethoven, and Smetana's symphonic poem, "Vitava." Kreisler and the orchestra will unite in the performance of the Lalo's "Spanish" symphony for violin and orchestra.
103Corinne Rider-Kelsey will be the soloist at the concert of the Pittsburgh Apollo Club, December 10, under the direction of Rinehart Mayer.
105Carreño's recital in Pittsburgh has been set for Tuesday night, December 17, at Carnegie Hall. This recital is to be given under the auspices of the Tuesday Musical Club, and in addition to Madame Carreño's numbers, Luigi von Kunits, the violinist, will play.
107Noted operas lately heard at Italian opera houses were: Bagnacavallo—"Fedora"; Chioggia—"Boheme"; Conagliano—"L'Amico Fritz"; Parma—"Rigoletto"; Torino—"Donna Juanita," "Andrea Chénier."
109MANHATTAN OPERA CASTS.
111"Les Contes D'Hoffman," Wednesday Evening, November 27.
112Olympia ………………………………………… Zeppilli
113Giulietta ………………………………………… Jomelli
114Antonia ………………………………………….. Trentini
115Nicklausse ……………………………………… Cisneros
116A Voice ………………………………………….. Giacoma
117Hoffmann ………………………………………. Dalmores
118Coppelius ………………………………………. Renaud
119Dapertutto ……………………………………… Miracè
120Spalanzani ……………………………………… Gilibert one of two readings
121Spalanzani …………………………………….. Gilibert one of two readings
122Grespel ………………………………………… Lindorf
123Schlemil ………………………………………… Crabbe
124Cochenille ……………………………………… Daddi
125Pitichinaccio …………………………………… Gianoli-Galletti
126Franta …………………………………………… Reschiglani
127Hermann ………………………………………. Venturini
128Nathaniel ………………………………………. Fossetta
129Luther …………………………………………… Zenatello
130Conductor, Campanini.
132"Carmen," Thursday Afternoon, November 28.
133The familiar cast presented "Carmen," with Bressler-Gianoli and Dalmores in the principal roles, and the other parts filled by Gilibert, Crabbe, Koelling, Trentini, Gaciona, Daddi, Mugnoz, Reschiglani. Charlier conducted.
135"Faust," Thursday Evening, November 28.
136Marguerite …………………………………….. Zeppilli one of two readings
137Marguerite ……………………………………… Zeppilli one of two readings
138Siebel …………………………………………… Giacoma
139Martha ………………………………………….. Severina
140Diderot ………………………………………….. Didier
141Valentin ………………………………………….. Crabbe one of two readings
142Valentin ………………………………………… Crabbe one of two readings
143Wagner ………………………………………….. Fossetta
144Faust ……………………………………………. Zenatello
145Conductor, Campanini.
147"Faust," Friday Evening, November 29.
148The "Faust" repetition on Friday offered the same cast as the evening before, with the exception of Ancona, who sang Valentine in place of Crabbe. Campanini conducted.
150"Thais," Saturday Afternoon, November 30.
151The familiar cast from the première repeated "Thais," with Garden, Dalmores, Renaud, etc. Campanini conducted.
153"Aida," Saturday Evening, November 30.
154Aida ……………………………………………. Russ
155Amneris ………………………………………… De Cisneros
156Radames ………………………………………… Zenatello
157The King ………………………………………… Mugnoz
158Amonasro ……………………………………… Ancona
159Ramfis ………………………………………….. Arimondi
160Messaggiero …………………………………… Venturini
161Conductor, Campanini.
163"Contes D'Hoffman," Monday Evening, December 2.
164Zeppilli, Jomelli, Dalmores, Renaud and De Cisneros repeated their excellent performances in their respective roles.
166Mark Hambourg's Recital.
167Mark Hambourg's second recital at Mendelssohn Hall on Monday afternoon, December 2, was as well attended as the first, and drew quite as representative and fully as enthusiastic an audience as on the previous occasion. The brilliant Russo-English pianist elected to be heard in this program:
169Prelude and Fugue, D major ……………………………………… Bach
170Sonata, op. 2, No. 3 ……………………………………… Beethoven
171Arabesque ………………………………………… Schumann
172Toccata ………………………………………….. Schumann
173Vogel als Prophet …………………………………. Chopin one of two readings
174Etudes, D flat, G flat, F minor ……………………….. Chopin one of two readings
175Scherzo, C sharp minor ………………………………. Henschel one of two readings
176Vogel als Prophet …………………………………. Schumann one of two readings
177Etudes, D flat, G flat, F minor ………………………….. Chopin one of two readings
178Scherzo, C sharp minor ………………………………. Chopin one of two readings
179Mazurka ………………………………………….. Henschel one of two readings
180Etude, G minor …………………………………… Moszkowski
181Polonaise, E major …………………………………. Liszt
183Hambourg never has been in better mood here than at Monday's recital, and he exhibited an intellectual and emotional mastery over his musical material which again emphasized his arrival at the estate of full and satisfying artistic maturity. About the same age as Hofmann, Hambourg seems years older than the latter when his interpretations of Bach and Beethoven are compared with the present ones of the erstwhile prodigy who astonished New York with his eight year old precocity at a time when this town had not gauged infant talents as accurately as now is the case.
185Next to Hambourg's thoughtful and reverential exposition of the two masters aforementioned, the other chief features of his playing were the poetry and warmth with which he infused Schumann, the exquisite finish and fervor of his Chopin readings, and the rare charm and irresistible bravura with which he dashed off the final two numbers on the program.
187It was altogether a delightful afternoon for lovers of pianism without pose or meretricious appeal, and they applauded Hambourg so long and so loudly that he had to lengthen his recital by several additional numbers.
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