Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 14
Scan 14
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
138 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 17. 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.
1Yvonne de Tréville's Success in Europe and America.
3Yvonne de Tréville, the American coloratura soprano and grand opera prima donna, is just completing one of the most successful seasons in her career. Possessed of a lovely and finely trained voice, rich in quality and capable of meeting the most intricate demands, she has won laurels wherever heard and the critics have been enthusiastic in their praise of her singing.
5During the past nine years, through her tours in various parts of the world, Madame de Tréville has established an international reputation, having been heard in fourteen different countries, on each occasion singing in the language of the people among whom she appeared. France, Belgium, England, Germany, Austria-Hungary, Roumania, Sweden, Denmark, Finland, Russia, Spain, Egypt and Algeria have all joined in the praise which has been bestowed upon this prima donna. Among the opera houses in which she has sung are: Opéra Comique, Paris; Opéra Impérial, St. Petersburg; Théâtre Royal de la Monnaie, Bruxelles; Opéra Imperial, Vienna, etc. Her repertory includes "Lakmé," one of her favorites; "Manon," "Hamlet," "Les Pêcheurs de Perles," "Les Huguenots," "Mignon," "Faust," "Barbiere di Seviglia," "La Bohème," "Traviata," "Lucia," "Rigoletto," "Don Pasquale," "Dinorah," "Romeo et Juliette," etc., beside numerous operatic arias and songs with orchestra.
7Although of French descent, Yvonne de Tréville has always been proud to call herself an American; she has always remained loyal to the Stars and Stripes, for it was in this country that she received most of her early training, scoring her first success in America while yet in her teens.
9The name of de Tréville is a favorite in every town and city in which she has appeared. Royalty, too, has joined in the praises bestowed upon her, the first interview occurring during her engagement at the Royal Opera in Stockholm, when she was commanded by the late King Oscar to sing at the palace. While in Helsingfors, Finland, she received an invitation to go to the Russian capital, St. Petersburg, and sing with the Czar's private orchestra, and on numerous occasions she visited the royal palaces in Roumania to entertain Queen Elizabeth (Carmen Sylva) and the beautiful Princess Marie. It was in Roumania, following her last visit to the Palace of Cotroceni, that the Crown Princess presented her with a beautiful ruby and diamond pendant. This past season Madame de Tréville received the order of Bene Merito of the first class, from His Majesty King Charles of Roumania. During her stay in London she was summoned to Ostende to appear before their majesties the king and queen of the Belgians. Among the many artists with whom she has sung are Ysaye, Cesar Thomson, Kubelik and many others.
11The events that have led up to the present time have been notable ones, and her achievements in the past years, as well as during the season just closing, have gained for this prima donna the admiration and praise that belong to a distinguished artist. Her voice is extraordinarily fine and of wide range. It has been thoroughly trained and possesses a remarkable richness and brilliancy of tone. Trills, cadenzas and staccati are easily negotiated, and her intonation and power are most marked. Both in the upper and lower registers her voice is unusually clear and pure, possessing a resonant and sympathetic quality.
13Beside her vocal art, Yvonne de Tréville has a personal charm that makes her additionally attractive. She has magnetism that draws her hearers to her from the start. Her repertory, too, is very pleasing, and for her programs she has used excellent judgment in selecting songs not only of the best, but also favorites with her auditors. The press in the various cities in which she has sung has continually complimented her, and the criticisms have always been pronounced in their admiration of her remarkable voice and charming personality.
15In the following paragraphs are reproduced some of the comments taken from the American press during the past season, and also criticisms culled from foreign newspapers:
17Her clear soprano has freshness of quality and executes the many floriture with fluency and brilliancy.—New York Times.
19Her voice is fresh in quality and flexible. Its range is wide.—New York Evening Post.
21Her voice is a true coloratura with extraordinary pure high tones, produced without the slightest effort, clear and sweet throughout, with a well nigh dazzling flexibility. Her intonation is without flaw and her staccato is most unusual.—New York Evening Mail.
23A rival to Tetrazzini. A veritable song bird. High up into tonal ether she soars with consummate ease. Each tone as clear as the peal of a bell.—New York Press.
25Yvonne de Tréville's voice shines in youthful splendor. Her art has attained its zenith. She is an artist in full possession of her powers, knowledge, youth and temperament, absolutely natural and absolutely spontaneous . . . she is a perfect phenomenon among the singers of our time.—Fremdenblatt, Vienna.
27It is clear that she is to be considered one of the leaders among coloratura singers.—Detroit (Mich.) Free Press.
29De Tréville created a furore and 8,000 people applauded and shouted their approval.—Toronto (Can.) World.
31The melting beauty of the high notes, the perfect control of the tricky passages, and above all, the swelling of the trills . . . make a piece of rare vocalism.—Toronto (Cana.) Mail and Empire.
33Her voice, veritably angelic in quality, is admirably controlled and of absolute perfect intonation and power.—El Pais, Mexico City, Mexico.
35The name of Yvonne de Tréville is known, as she has been applauded in nearly all the capitals of the world.—Prager Tagblatt, Prague.
37She is a great artist.—Magyarorszag, Budapest.
39Her voice is very big for a coloratura singer, and powerful up to the highest register.—National Zeitung, Berlin.
41Yvonne de Tréville is a star who is at the culmination point in the artistic sky.—General Anzeiger, Dresden.
43The ease of her voice is astonishing . . . pure as the sounds of a bell.—Dresdner Anzeiger, Dresden.
45A big and beautiful voice, flexible and highly cultivated, which she used with ideal fitness.—Vort Land, Copenhagen.
47Her coloratura singing, her extremely flexible voice and splendid breath control scored for her a triumph.—Svenska Dagen, Stockholm.
49A voice so melodious and at the same time so strong and so sure.—Le Phare, Cairo, Egypt.
51Audience entranced by her lovely voice and marvelous technic, her perfect diction and graceful acting.—Indépendance Roumaine, Bucharest.
53The height and flexibility of Mlle. de Tréville's voice are astonishing, and make it possible for her to sing the role of Lakmé without any transpositions or changes.—Novoje, St. Petersburg.
55This young singer, who is the rage of Paris, held her audience under the charm of her marvelous voice.—Le Figaro, Paris.
57Her pearly execution and brilliant vocalization are joined to a rare purity and surety of intonation.—La Chronique, Brussels.
59De Tréville's voice was as fresh and beautiful when she closed her season at the great Paterson Festival when the Paterson Call of May 1 said:
61De Tréville proved a sublime singer in the air and variations of Proch. This was truly a piece that called for vocal pyrotechnics of which few singers are capable.
63De Tréville surprised the audience when (as an encore) she took the harp that had been used during the evening and accompanied herself while singing a pretty little folksong. She was recalled and then gave a most beautiful rendition of "The Last Rose of Summer," also accompanying herself on the harp.
65At the beginning of her season at the Toronto Festival the Toronto Mail and Empire of October 14 said:
67De Tréville sang with that wonderful sweetness that created such a furore Wednesday afternoon, in response to a perfect hurricane of applause she gave Proch's theme and variations, a display piece that only becomes notable when rendered by an artist like De Tréville.
69Following is the opinion of the European critic, Dr. Wilhelm Kienzl, composer of "Evangeliman," "Kahreigen," etc.:
71Those who wish to learn the art of song must not fail to attend the performances of this mistress of vocal interpretation, of mezza voce and of brilliant coloratura. We hope they will soon have this opportunity.
73N. J. Corey, of Detroit, Mich., made the following statement on April 12, 1913:
75So remarkable a career justifies national pride in her successes. Today, while not yet at the zenith of her physical powers, Yvonne de Tréville stands alone . . . a truly great artist. (Advertisement.)
77Concert at Potsdam.
79The following interesting recital of French songs was given by Ellen Snyder at the Crane Normal Institute of Music, Potsdam, New York, May 14, 1913. Edith M. Austin was the accompanist and Olga Harrangue made the explanatory remarks:
81FOLKSONGS.
83Ye Pretty Birds (Balzac) ……………………………………… H. Riegel
84Paris Is the King's …………………………………………….. Old Minuet
85In Our Happy Village ………………………………………….. Jacques Lefevre
86There Was a Little Maiden ……………………………………. Old Ronde (1503?)
87On the Bridge of Avignon ……………………………………… Old Ronde (1503?) one of two readings
88On the Bridge of Avignon ……………………………………. Old Ronde (1503?) one of two readings
89When the Nightingale Shall Sing (troubadour song) …….. Ascribed to the Chatelain de Coucy (1192) one of two readings
90When the Nightingale Shall Sing (troubadour song) ………. Ascribed to the Chatelain de Coucy (1192) one of two readings
91The Song of the Mountainer (Armand Lafrique) …………. C. Despourins (1693) one of two readings
92The Song of the Mountaineer (Armand Lafrique) …………. C. Despourins (1693) one of two readings
93Phoenix Club.
95ART SONGS OF THE NINETEENTH CENTURY.
96The Unknown Land, from A Summer Night (Th. Gautier) …………. Berlioz (1803-1869)
97Harriet Johnson, accompanist.
98Aria from opera Mignon ………………… Ambrose Thomas (1811-1896)
99La Parlate d'Amor, from Faust ………………… Gounod (1818-1893)
100Moonlight (Catulle Mendes) ………………… Saint-Saëns (1835)
101Elegy (Victor Hugo) ……………………….. Massenet (1842-1912)
102Violin obbligato by Miss Wright.
103The Broken Flower (Armand Silvestre) …………. Gabrielle Faure (1845) one of two readings
104The Broken Flower (Armand Silvestre) ………. Gabrielle Faure (1845) one of two readings
105The Humming Bird (Le Conte de Lisle) …………. Chausson (1855-1899) one of two readings
106The Humming Bird (Le Conte de Lisle) ………. Chausson (1855-1899) one of two readings
107Summer (Ed. Guiraud) ……………………….. Chaminade (1851) one of two readings
108Summer (Ed. Guiraud) ……………………….. Chaminade (1861) one of two readings
109A Sea Song ……………………………………… Vincent d'Indy (1852)
110Voices of Spring (Paul Bourget) ………………… Claude Debussy (1862) one of two readings
111Voices of Spring (Paul Bourget) …………….. Claude Debussy (1862) one of two readings
112The Bells (Paul Bourget) ……………………….. Claude Debussy (1862) one of two readings
113The Bells (Paul Bourget) …………………….. Claude Debussy (1862) one of two readings
114If With Haste My Song Would Fly (Victor Hugo) …………. Reynaldo Hahn (1874) one of two readings
115If With Haste My Song Would Fly (Victor Hugo) ………. Reynaldo Hahn (1874) one of two readings
116Enchanted Hour ……………………………………… Leo Delibes (1836-1891) one of two readings
117Enchanted Hour ……………………………………. Leo Delibes (1836-1891) one of two readings
118Dreadful Sea ……………………………………… Gabriel Pierné (1863)
120MUSIC IN MEMPHIS.
122Through the efforts of the Rev. Prentice A. Pugh, of St. Luke's Episcopal Church, the people of Memphis will have an opportunity to enjoy and to entertain the Sewanee Glee Club on May 29. Mr. Pugh has just returned from a visit to Sewanee and while there he perfected arrangements for the appearance of the Glee Club. The boys will be entertained by several of the city's most prominent families after their concert at the Goodwyn Institute.
124Mrs. E. T. Tobey is arranging her party for the annual summer trip to Chautauqua. She is one of the leading teachers there and a prime mover in all musical affairs in Chautauqua.
126After a three weeks' visit with their brother, Angelo Cortese, Jack and Joe Cortese have returned to their home in London, Canada. Joe will leave early this fall for a three years' stay in Paris, Berlin and St. Petersburg, where he will study violin under Ysaye and other renowned artists.
128Memphis and the Beethoven Club are proud to announce the recent election of a Memphis woman as vice-president of the Southern section of the National Federation of Musical Clubs. Mrs. W. J. Gillfillan was elected to this office at the recent biennial meeting held in Chicago. She is a brilliant woman and is popular both at home and abroad, having served the federation as corresponding secretary for several years past.
130Martha Trudeau leaves early in June for Europe, where she will remain for several months, spending much time in the study of piano.
132Louise Oliver, who has been studying harp with Angelo Cortese, will leave, in the early summer, to stay in Chicago and New York. NOLA NANCE OLIVER.
134We hear much regarding the "soul" of the piano. Whether this "soul" is found in the soundboard or the action, or in the combination of both, is fully described in literature prepared by Kranich & Bach. It is well to know something about the grand piano, if one is going to purchase one. Study the claims of the Kranich & Bach, which present many inventions that place these instruments in a position strictly individual.
136KRAINICH & BACH
137New York
The computer misreads some letters and numbers. Where a name matters to you, read the scan.