Books › Musical Courier 1910-02-16: Vol 60 Iss 7, 1910 › scan 31
Scan 31
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
74 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
1BOSTON OPERA HOUSE.
2"Carmen," February 7.
3After a six weeks' successful Western tour, the Boston Opera Company opened the second half of its home season with a brilliant presentation of "Carmen" with the following cast:
4Don Jose …………………………………………….. Florencio Constantino
5Escamillo …………………………………………….. George Baklanoff
6El Dancairo ………………………………………….. C. Stroesco
7El Remendado ……………………………………… Ernesto Giaccone
8Zuniga …………………………………………………. Francis Archambault
9Morales ………………………………………………. Attilio Pulcini
10Carmen ………………………………………………. Maria Gay
11Michaela ………………………………………………. Lydia Lipkowska
12Frasquita …………………………………………….. Matilde Lewicka
13Mercedes ……………………………………………. Bettina Freeman
15As in her previous performances, Madame Gay so identified herself with the title role that it was impossible to say just where Prosper Merimee's heroine ended and Bizet's creation began. She was the vitalized result of both the librettist and composer, and as such she stood forth defiant in the elemental appeal, which the audience accepted and acclaimed. The Escamillo of Baklanoff, as a creation grows with each added repetition. Here is no vociferous self laudatory bull fighter, but an exquisite dandy so absolutely certain of his manifold attractions that it really is not worth while to overexert himself even in the case of the fickle and beautiful Carmen. His vocal work, too, is always satisfactory and particularly interesting in its steady artistic unfolding. The Michaela of Madame Lipkowska has everything in its favor—youth, charm, and a certain pathetic maidenly appeal of voice and manner which always win, no matter what the role portrayed may be. Mr. Constantino sang with his usual ease and command of the bel canto and gave an impressive histrionic performance of the betrayed ex-soldier. The Mercedes of Miss Freeman and the Frasquita of Madame Lewicka deserves a special word of praise, while the remainder of the cast, together with the fine singing of the chorus, contributed to the artistic ensemble.
17"Don Pasquale" and "Il Maestro di Capella,"
18February 9.
19Donizetti's "Don Pasquale" and Paer's "Il Maestro di Capella" furnished a delightful evening of opera buffa on Wednesday, with the following casts, Mr. Conti, conductor:
20Don Pasquale ……………………………………… Mr. Tavecchia
21Dr. Malatesta ………………………………………. Mr. Fornari
22Ernesto …………………………………………………. Mr. Bourrillon one of two readings
23Ernesto ……………………………………………….. Mr. Bourrillon one of two readings
24Norina …………………………………………………. Miss Nielsen one of two readings
25Norina ……………………………………………….. Miss Nielsen one of two readings
26Un Notaro ……………………………………………. Mr. Stroesco one of two readings
27Un Notaro ………………………………………….. Mr. Stroesco one of two readings
29THE CAST OF "IL MAESTRO DI CAPPELLA":
30Gertrude …………………………………………….. Miss Lewicka one of two readings
31Gertrude ……………………………………………. Miss Lewicka one of two readings
32Barnaba ………………………………………………. Mr. Pini-Corsi one of two readings
33Barnaba ……………………………………………… Mr. Pini-Corsi one of two readings
34Benetto ………………………………………………. Mr. Palestina one of two readings
35Benetto ……………………………………………… Mr. Palestina one of two readings
37Miss Nielsen's Norina is already known as a part which she has made entirely her own through her excellent singing and the clever comedy touches of action in which she is past mistress. She was in splendid voice and did her role ample justice. Mr. Tavecchia was the foolishly fatuous Don Pasquale of the cast, and acquitted himself admirably as the poor senile old man weeping so pathetically over the sorrows caused him by his frisky young tempestant of a wife. Mr. Fornari lent able support as Dr. Malatesta, and a feature of the performance was the uncommonly good singing of the servant's chorus which was encored. Miss Lewicka made a charming Gertrude. As a whole, though, Paer's opera suffered by juxtaposition with "Don Pasquale," and would gain much by contrast with a more serious work.
39"Lucia di Lammermoor," February 11.
40A first performance of "Lucia di Lammermoor" was given on Friday evening, with Madame Lipkowska in the title role and the following cast, Mr. Conti, conductor:
41Edgar of Ravenswood ……………………………… Florencio Constantino
42Henry Ashton ………………………………………. Rodolfo Fornari
43Norman …………………………………………….. Roberto Vanti
44Raymond ……………………………………………. Giuseppe Perini
45Arthur …………………………………………………. Ernesto Giaccone
46Lucy …………………………………………………… Lydia Lipkowska
47Alice …………………………………………………… Virginia Pierce one of two readings
48Alice ………………………………………………….. Virginia Pierce one of two readings
50As a matter for musical comparison, "Lucia" does not rank with Donizetti's other operas, but as a work incorporating the famous "Mad Scene" and the no less well known "Sextet," it is beloved of coloratura sopranos and the public alike, and must always hold its place in the standard operatic repertory of the day. With this as her vehicle Madame Lipkowska scored one of the successes of the Boston operatic season. Unusually gifted temperamentally Madame Lipkowska possesses the power of so identifying herself with her role as to become the living, breathing impersonation of the character for the time being. With her the "Mad Scene" was not a vehicle for the display of fine coloratura work, but the halting, disconnected phrasing, of the mood of the moment. She neither raved nor ranted, but looked so pitifully forlorn in her pathetic search for relief from the terrible load of remorse, that the audience forgot to wax eloquent over the trills, staccati, etc., and held its breath until the close, when the enthusiasm knew no bounds. Mr. Constantino was no less successful in his impersonation of Edgar. Some always associate wonderful beauty of voice and phrasing with Mr. Constantino as a singer, but, when added to that there is the fine histrionic impersonation with which he clothed the character of the unfortunate lover, there is a combination second to none in the operatic firmament. The remainder of the cast added to the general excellence of the evening's performance, which was greatly enjoyed by the brilliant and enthusiastic audience.
52"Madama Butterfly," February 12 (Matinee).
53The Saturday matinee brought "Madama Butterfly" with Miss Nielsen in the title role, Mr. Conti, conductor, and the remainder of the cast distributed among the following artists: Butterfly, Alice Nielsen; Suzuki, Elivra Leveroni; B. F. Pinkerton, Christian Hansen; Sharpless, Rodolfo Fornari; Goro, Ernesto Giaccone; Prince Yamadori, Attilio Pulcini; The Bonze, Francis Archambault; Kate Pinkerton, Elena Kirmes. "Madama Butterfly" might strictly be termed an opera with a heroine, the hero vanishing as far as his operatic value is concerned after the close of the passionately beautiful love duet in the first act. As such a heroine Miss Nielsen carried off the honors, the defective singing of the subordinates only adding to the finely conceived and artistically carried out portrayal of her role. There was a current of foreboding even in the moments of her greatest joy, and the semi-hysterical lyric utterance when she espied the ship in the harbor, was carried over the footlights and made just as intensely real to her audience. The difficulty encountered by Miss Nielsen in being compelled to use a stage doll in place of the young child called for in the cast was happily overcome by the sincerity of her acting. Mr. Hansen was an able second in the duet, but on the whole his performance was uneven.
55"II Trovatore," February 12.
56The opening of the series of Saturday night performances of grand opera at popular prices attracted a large audience. The following cast appeared in the performance of the ever popular "II Trovatore," Mr. Luzzati conducted:
57Manrico ……………………………………………. Carlo Cartica
58The Count de Luna ………………………………… Raymond Boulogne
59Ferrando ……………………………………………. Giuseppe Perioli
60Ruiz …………………………………………………… Ernesto Giaccone
61Leonora …………………………………………….. Emma Hoffmann
62Irene ………………………………………………….. Virginia Pierce one of two readings
63Irene …………………………………………………. Virginia Pierce one of two readings
64Azucena …………………………………………….. Rosa Olitzka
66The two new comers in the principal roles were Miss Hoffmann as Leonora and Madame Olitzka as Azucena. Miss Hoffmann was heard here earlier in the season as Aida when she displayed a large dramatic soprano voice of unusual power and agility. With this gift Miss Hoffmann should unite an artistic discretion which would keep her from unnecessarily forcing her tones. As it is, the particular timbre of her voice would be better suited to Wagnerian rather than lyric roles. Madame Olitzka is well suited both vocally and histrionically to the role of Azucena and did her best work of the evening in the trio of the closing scene in which her beautiful voice and exquisite phrasing made a most effective foil to the vociferous dialogue of the others. GERTRUDE F. COWEN.
68Kotlarsky Plays and Sails.
69The last recital of Master Kotlarsky, which closed his series at the Von Ende Violin School, saw an enthusiastic audience, so responsive to his altogether unusual playing of the Tchaikowsky concerto, the Hungarian airs by Ernst and pieces by Sarasate and Hubay that he had to add encores. For these his little brother Max played the piano accompaniments very well. At the previous recital he played concertos by Vieuxtemps and Glazounow, with most unusual expression and temperament. The violin choir and Bach class took part, as usual, playing excerpts from Bach's sixth sonata for violin; Schumann, Hellmesberger; "Lohengrin," Ries, and Grieg's "Spring," beautifully arranged by J. Frank Rice for the violin choir. Flashlight pictures were taken of Kotlarsky, the violin choir, etc. The presence and expressed approbation of violin experts showed in what esteem Von Ende is held. Kotlarsky was born with musical talent, but without Von Ende's splendid teaching he would have grown up a musical weed. He was the star feature at a concert under Von Ende's direction in Paterson, N. J., February 4; the violin choir and Edna Showalter, soprano, shared honors with him. February 12 the fellow students of Kotlarsky saw him off at the Cunard dock. He expects to remain in Europe three years. Completing the record of the Von Ende students who took part in the concerts, following are the names of members of the violin choir and Bach class: Aimee Adair, Maude Ashman, Clair Bedell, Regina Carlson, Josephine McMartin, Claire McNamee, Bessie Riesberg, Ottilie Schillig, Lester Inglis, S. Kotlarsky, Don Morrison, S. Ollstein, J. Frank Rice, William Small and Master B. Sicklick.
71Richard Strauss has selected from the German opera companies that have given "Elektra" the singers to introduce the work to The Hague, which will be the first Dutch city to hear it. Zdenka Fassbender, who comes from Munich, is to have the title role, while Margarethe Siems and Carl Perron will have the roles they sang in the original performance at Dresden with Ottilie Metzger, of Hamburg, as Clytemnestra.
73Yvonne de Treville has been making her annual appearance at the Vienna Royal Opera as a guest. She appeared in "Lakme" and "Il Barbiere di Seviglia."
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