Books › Musical Courier 1910-02-16: Vol 60 Iss 7, 1910 › scan 33
Scan 33
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
70 lines. Read by computer on 26 September 2026. Printed page 34. See the scan on archive.org.
1HENRI SCOTT, THE YOUNG AMERICAN BASSO OF THE MANHATTAN OPERA HOUSE.
3"Mr. Scott, you are the pioneer basso," remarked The Musical Courier interviewer, and in explanation continued: "Are you not the first American basso trained solely in America, and with no foreign operatic experience, who has ever made a grand opera debut in New York City?"
5Mr. Scott smiled.
7"Tell me, have you always had the operatic bee in your bonnet, or did you acquire it?"
9"I can truthfully say that ever since I can remember, long before I knew how to sing—in fact, from the first operatic performance I ever heard, the bee was there," replied Mr. Scott pleasantly. "I always wanted to sing in opera, but although many people told me when I began singing that my voice should be suited to the operatic stage, I kept my ambitions to myself. Even when I first began studying with Oscar Saenger I never mentioned them to him. This was seven or eight years ago. I used to come over from my home in Philadelphia once a week to study with him. He had been warmly recommended to me by a prominent New York musician as the best teacher in America for those with operatic aims and voices. But I said nothing about opera to him. It was he himself who told me that I had the voice and talent, and advised me to work with that aim in view. Meanwhile I was singing in concert and oratorio—I have sung almost all the oratorios—and for seven years—in fact, until this autumn, held the position of basso soloist in the highest priced church choir in Greater New York. I only resigned it when my operatic work began at the Manhattan.
11"To go back; somewhat more than two years ago I was invited to join the Philadelphia Operatic Society, and upon consulting Mr. Saenger he urged me to do so. This organization, as you doubtless know, is semi-professional, some of its members having sung more or less in opera, and others are church and concert soloists, and the society gives performances of opera which are on a very high plane. The chorus, composed as it is of solo voices, is superior to that of any opera house, the operas are staged by a professional, etc. After joining the club, two years ago I sang Mephistopheles in Gounod's 'Faust,' the first work of the season, and later appeared as Plunkett in 'Martha' and as Ramfis in 'Aida,' all with great success."
13"Were you not nervous to make your debut with no stage experience in such a role as Mephistopheles?"
15"No, I was not, because Mr. Saenger trained me so thoroughly that I felt sure of myself even before rehearsals began. I used to work with him on the acting and gestures at least one evening of every week, and the concerted parts I sang in his studio with Marie Rapp Ild and Ricardo Martin, who at that time were both working with him. Consequently I knew every note of the opera, and also knew the stage business. The result of my success at that first performance was an appointment to sing for Mr. Conried.
17"It was in the middle of Mr. Conried's last season at the Metropolitan. 'Don Giovanni' was to be revived, and he wanted a basso very badly. Journet and Chalipine had both left him on short notice, and he needed some one for Leporello. He sent to Mr. Saenger, and asked if he had a pupil whom he could recommend. Mr. Saenger spoke to me, and I was sent for to sing at the Metropolitan. Had I known the role of Leporello I might have been singing there now, for they liked my voice very much indeed. But as I had never studied the role, and it is one of the most important roles ever written for basso, you know, I could not undertake it at such short notice, so they were obliged to get some one else. But in consequence of my singing I was engaged that spring for the Caruso concert company, and toured with Caruso for three weeks, in Cleveland, Buffalo, Rochester, etc.
19"After that, when Mr. Saenger returned from Europe, in the autumn of 1907, he advised me strongly to study for opera in Germany. He said my voice was, he knew, admirably suited to the German roles, and also the kind of voice they were looking for there. Allen Hinckley, whom I have known for years, and who was then entering upon his first season at the Metropolitan, offered to give me introductions, and I began working up a German repertory with Mr. Saenger, fully intending to go to Germany in the spring. I may say that I always take Mr. Saenger's advice. Not only does he know the operatic and concert situation thoroughly, but I really believe he has second sight, so good is his advice. We worked until I had six roles thoroughly learned in German, all the acting and gestures as well as the music, Mr. Saenger himself frequently impersonating the other characters. Why, we even studied the dialogue of Caspar in 'Der Freischütz.'
21As I was very busy with church and concert work, besides giving lessons, I had very little time to study, but found I could work on the trains coming to and from Philadelphia, and now I think I memorize most easily on a train. Early that autumn I made my actual operatic debut in Greater New York. I was the first singer to sing a note of opera in the new Brooklyn Academy of Music. This is how it happened. A large benefit for the German Hospital was organized, and took the form of a performance in November of 'Il Trovatore,' by professional singers, under the direction of Gustav Hinrichs. As the Academy had made a contract with the Metropolitan Opera people, giving them the exclusive rights to present opera in French, German and Italian, we were obliged to sing the opera in English. I was Ferrando, and as he is the first character in the opera to sing, you see that my voice was the first to be heard in opera in the beautiful new theater.
23"Meanwhile, during that season I went very frequently to the opera in New York, and one evening in the latter part of the season I went to the Manhattan Opera House. I was talking with Mr. Guard before the performance began, and he asked me if I had ever met Mr. Hammerstein. 'He is in his office now,' he added, motioning to the inner room. I said that I had not, and Mr. Guard took me in and introduced me, saying some nice things about my voice, for he had heard me sing. Mr. Hammerstein was most cordial, and said he would like to hear me sing. 'When can you come?' said he. 'Tomorrow,' I replied, and that day being a Sunday, an appointment was made then and there. I sang the big aria, 'Infelice,' from 'Ernani,' and Mr. Hammerstein promptly made a contract with me, for the present regular season, with the stipulation that I was to sing if required in the preliminary season as well, should that be determined upon. Arrangements were not then settled for it.
25"As this preliminary season was decided upon, I made my debut as Ramfis in 'Aida,' and, thanks to my previous training and the Philadelphia appearance, I was far less nervous than might have been expected. During that season I also sang in 'The Bohemian Girl,' 'Rigoletto,' etc. During the present season I have sung both Ramfis and Sparafucile—I have sung thirteen times the former role, but am not superstitious about the number—in 'Lucia,' with Madame Tetrazzani in Washington, and without a rehearsal in 'Le Jongleur de Notre Dame,' also without a rehearsal in 'Thais,' 'Griselidis,' 'Tannhäuser' and 'Elektra.' I now have a repertory of twenty roles, other operas which I have not yet appeared in at the Manhattan, but in which I am fully up, being 'Don Giovanni,' 'La Juive,' 'Die Walküre,' 'Die Meistersinger,' 'The Magic Flute,' and, of course, 'Martha' and 'Faust,' the role of Mephistopheles being one which, I believe, is especially suited to me in every way. I also had hoped to sing the King in 'Lohengrin,' for it was proposed to give that work at the Manhattan this season, but the plan has now, I believe, been abandoned."
27"Have you ever sung with Orville Harrold in any of his studio work?" asked the interviewer.
29"No, I have not, but I understand that he has been given by Mr. Saenger the same kind of training for his debut that I received. The singing of the concerted music with others before stage rehearsals begin makes one wonderfully sure of himself. This probably explains the fact that Mr. Harrold seems so little nervous over his debut. It is a great thing."
31"And have you abandoned concert work?"
33"By no means! I expect to sing in a number of concerts at the close of the opera season, although this summer I also wish to perfect myself in French roles. I am very fond of the French operas, but the greater part of my work has been put on the German roles, since it was in those that I expected to sing during the first years of my career. I am also fond of the Italian operas, and love to sing in Italian, but there are so few roles for a bass in the modern Italian works."
35That Mr. Scott is popular in concert work as well as in opera was proved, if proof were needed, at his recent appearance at a Sunday concert at the Manhattan Opera House. He was recalled five times after his number. He has also met with unusually favorable treatment at the hands of both press and public from his first appearance in opera. Like all the Saenger pupils, he is enthusiastic over his teacher and an ardent upholder of the Saenger method.
37The French first name of this young American artist is explained by the fact that his mother is of an old Huguenot family. From both parents, although neither of them was a professional musician, Mr. Scott inherits his voice. His father had a fine bass, which the son declares was even deeper than his own; the mother was a contralto, and they both frequently sang in church in Coatesville, Pa., where young Scott was born. The latter is a champion oarsman, and shows with pride some fine prizes won in rowing contests, one of them being a beautiful fob with gold medal attached, won in a national championship contest a few years ago. Mr. Scott's wife is a college girl and a Ph. D. of the University of Pennsylvania, which degree she won for her work in chemistry. Mr. Scott proudly alludes to her as "The cleverest girl alive."
39ALICE PRESTON'S SONG RECITAL.
41Alice Preston, a rising young singer with unmistakable ability and a pupil of Isidore Luckstone, gave a song recital last Thursday afternoon at the Fuchs studio in West Fortieth street, using the following scheme:
43Mein glaubiges Herz (cello obligato) ………………………………………Bach
44Amarilli ………………………………………………………..Caccini
45Air de Laurette, from Richard Coeur de Lion………………………..Grétry
46Mondnacht …………………………………………………….Schumann
47Er Ist's ………………………………………………………..Schumann
48Serenade …………………………………………………….Strauss
49Psyche (by request) …………………………………………..Paladilhe
50Colomba (MS.), Italian folk song….Arranged by Kurt Schindler
51Ylen, from The Birth of Galahad………….Marshall Kernochan
52Beat Upon Mine, Little Heart……………………………Nevin
53Danza ………………………………………………………..Chadwick
54Le Nil (cello obligato) ………………………………………Leroux
55Dissonance …………………………………………………..Borodine
57Though but recently recovered from an attack of tonsilitis, Miss Preston sang well. Her voice is especially mellow in the middle register and she uses the sotto voce with admirable effect. Her enunciation, whether of English, French, German or Italian text, was clear and distinct, an artistic achievement which added greatly to the afternoon's enjoyment. The cello obligatos played by Horace Britt were exquisitely rendered. Mrs. Farrington Smith presided at the piano in a most able and artistic manner.
59CANTON SYMPHONY ORCHESTRA.
61The second concert of the seventh season of the Canton Symphony Orchestra took place February 10 at the Canton Auditorium, nearly three thousand people being in attendance, Florence Hinkle, soprano; Henry Weiler, concertmeister, and A. L. Le Jeal, accompanist, assisting. The program consisted of Beethoven's F. major symphony, No. 8; the second movement of Tschaikowsky's fifth symphony; a suite of eight short numbers by Liadov, and the "Prayer" from "La Tosca" by Miss Hinkle, as well as five other songs as follows:
63Among the Sandhills ………………………………………… Stephens
64Come to the Garden, Love……………………………………… Salter
65When the Roses Bloom ……………………………………… Reichart
66Spring Violets ………………………………………………. Sommers
67Sunset ……………………………………………………….. Russell
69Cleofonte Campanini went from Naples to Rome to hear Leoncavallo's "Maja." Campanini does not intend to produce the work at the San Carlo, in Naples.
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