Scan 63
The American History and Encyclopedia of Music, 1910
13 lines. Read by computer on 15 September 2026. Printed page 43. See the scan on archive.org.
1Melba
2of his lovely music. June 15 she sang Romeo and Juliet at Covent Garden, completely captivating the London public, with whom she has increased in popularity ever since. In 1891 she went to St. Petersburg, where she received an ovation. The following year she made her debut in Milan under extraordinary circumstances. Jealous of the renown she had won in other cities before the verdict of La Scala had been given, the Milanese entertained a hostile feeling for her, which expressed itself even in threats against her life. Although unnerved by such preliminaries the diva made her appearance as Lucia, and with her first notes conquered her foes. She was given forty recalls, the final one lasting almost a half-hour, and the press extolled her singing in proportion to its former hostile criticism. In 1893 she appeared for the first time in America, making her debut at Chicago. In 1902 she returned to Australia, after sixteen years' absence, and was given an almost royal welcome. Madame Melba is not a gifted actress, but the wonderful beauty of her voice has placed her at the very head of opera-singers. It has a compass of two and a half octaves, is remarkably even and brilliant, and in flexibility and ease of tone production is comparable to Madame Patti's. The roles in which she has most frequently appeared are Gilda; Ophélie; Juliette; Marguerite; Esmeralda; Elsa; Violetta; Rosina, the Queen, in Les Huguenots; Michaela in Carmen; Nedda in Pagliacci; Hélène in the opera of that name written for her by Saint-Saëns; and Mimi in Puccini's La Bohème. As a woman Madame Melba is charming. Warm-hearted and generous, she has numberless times given aid to young and unknown musicians and artists, notable among whom is Puccini, whom she helped to a deserved recognition by insisting upon singing La Bohème against the wishes of her manager, bringing to the part so much appreciation and interpretative beauty that the role was soon recognized as one of her best. Among her fellow-musicians she is loved and honored for her beauty and dignity of character.
4Melgounov (Měl'-goo-nôf), Julius Nicholaevich. 1846-1893.
5Russian composer and musical writer; born at Vetlouga, in Kos-troma; began the study of music as a pupil of Dreyschock. Made his debut as a pianist in St. Petersburg at the age of eighteen. Laroche taught him theory, then he entered the Conservatory at Moscow, where he met Rudolph Westphal, at that time professor in the Katkov Lycée. He became greatly interested in Westphal's theories on rhythm, and accompanied that artist as pianist on a concert tour undertaken to introduce these theories into Germany. With Westphal he has written a book applying the principles of rhythm to ten of Bach's fugues. He has also written several books on Russian folk-songs, and a treatise on Russian National Music.
7Membrée
8Mellon, Alfred, 1821-1867.
9Prominent English conductor and composer; was born at London. He first played the violin in the Birmingham and other orchestras and then led the ballet at the Royal Italian Opera at Covent Garden, directed the music at the Haymarket and Adelphi Theatres, and managed the Pyne and Harrison English Opera Companies. He married the well-known actress, Miss Woolgar. In 1859 his opera, Victorine, was produced at Covent Garden. He afterwards conducted the Musical Society and the Promenade concerts at Covent Garden, and in 1865 was made director of the Liverpool Philharmonic Society. His works are Victorine, an opera; piano and instrumental music; songs and ballads.
11Membrée (män-brā), Edmond. 1820-1882.
12Dramatic composer and teacher; was born at Valenciennes, France. At the Paris Conservatory he studied piano under Alkan and Zimmermann, composition under Carafa and harmony under Dourlen. He became a teacher of music, was made president of the Society of Musical Amateurs, and in 1876 was decorated with the cross of the Legion of Honor. Among his writings are his operas, L'esclave, François Villon, La fille de l'orfévre, Les Parias, La Court échelle, Le moine rouge, Freyghor, and Colomba, which last two he did not finish. He has written also the two cantatas, Polythème et Galatée, and Fingal, as well as the music of the choruses of Ædipe roi; some ballads and chansons.
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