THE
itpjt Coptic
With which is incorporated THE MUSIC TRADE JOURNAL.
VOL. III.
NEW YORK, JANUARY 5TH, 1881.
No. 11
We can easily understand that the novelty of the style might shock an
THE FALL SEASON OF ITALIAN OPERA.
HE fall season of Italian opera has closed, after ten weeks' duration, and operatic audience of the present day. It may appear paradoxical to call the
a short record of what has been done during that period may be of in- antiquated style of Mozart a novelty, but that which has been heard before is
terest. Christine Nilsson calls Col. J. H. Mapleson the biggest story-teller a novelty. If audiences were familiar with Gluck, they would not only
and the meanest man in the world. A lady who has been so many years understand Mozart, but would take kindly to his works. To receive Mozart
under his engagement should be expected to know the character of her in a kindly spirit requires a certain amount of musical knowledge, and if not
manager, but as Mr. Mapleson himself replies to that grave accusation that knowledge, at least, musical instinct. This musical instinct cann'ot be fost-
"everybody who knows me knows that's outrageous defamation of charac- ered by Bellini and Donizetti, who please by their melodic efforts, and leave
ter, " we are very willing to give him the benefit of a doubt. There are really the harmonic treatment out of the question. Operatic audiences now-a-days
so many mean people in the world, that it would be very hard to single out want either the Italian opera in its purest style of light melodic character,
the meanest of all. Mme. Nilsson may have her private opinion, which we or French opera with spectacular attractions.
The same reason that made Bichard Wagner's wo^ks a failure in the
respect, without specially sanctioning it. All we know is, that Mr. Maple-
son promises a great deal before the season opens, but as yet has failed to beginning of their career outside of Germany, created the fiagco of '' Don
keep his promises. From the moment he set his foot on American soil, he Giovanni," at Rio Janeiro. Two entirely different styles lead to the same
hoodwinked the American public, which in the beginning believed his as- effect, because the causes are the same. The novelty of style proved disas-
surances, and finally lost faith in him entirely. That the opera season this trous ; but if the impresario in Brazil were courageous enough to keep '' Don
fall was a financial success, does not prove anything in favor of Mr. Maple- Giovanni " on the boards in spite of failure, he might be able to reverse the
son ; it only shows the generosity of the New Yorkers, and their willingness verdict.
It would not be the first time that judgments of operatic works have
to pay liberally for musical amusements. The English manager, fully ap-
preciating this generosity, treads continually on the corns of his patrons, been changed after half a dozen performances. Wagner was only acknowl-
and repays them with an ill-gotten-up repertoire of re-hashed operas. New edged through the energy of the friends and partisans of the composer. His
Yorkers are patient for a long while; they paid their money for the thirty works were kept on the boards, notwithstanding the complaints of the
nights' subscription in advance, and if they have to blame anybody, they public, which refused to listen to the new school; but afterwards they began
• should begin at home. The money paid, they enjoy the performances with to listen, because managers insisted upon producing the operas, and at
as good grace as possible, and swallow the dose Mr. Mapleson gives them present Wagner cannot be driven out of the modern repertoire.
without flinching. We are a good-natured set here, and show an enormous
The antiquated style of Mozart is dangerous, not alone in Brazil, but in
amount of patience; but one fine morning Mr. Mapleson will find the spirit other countries. Reverence for the great name may prevent fatal result; an
changed, and public opinion will be against him. His popularity will be audience may refrain from giving signs of direct disapprobation, but that a
shattered, and the nimbus of Her Majesty's trade-mark will have lost its performance of "Don Giovanni" can be thoroughly enjoyed, is, we believe,
charm. The manager, who is very smart, must not be too bold, and must only possible in exceptional cases. The musical education of our younger
change his tactics, if he will continue to cater for the American market.
generation is to be held responsible for this apparently strange tendency of
taste. The old works should never leave the stage and concert-hall, if
The repertoire of the season consisted of: "Lucia," " Somnambula," our
were only to form the connecting link in the chain of musical education.
"Lindadi Chamouni," "Traviata," "Aida," " Favorita," "Carmen," "Rigo- they
managers do not care for musical education; they are at the head of a
letto," "Martha," " Ballo in Maschera," " Puritani," " Faust," and " Me- But
enterprises. Where the government does not lend the helping hand,
fistofele." It may be easily seen that Boito's work was the only novelty of business
affairs will always be pushed too vigorously, with an utter disregard
the season, and the rest was made up from well-known operas. If we com- musical
the younger generation, which knows nothing of musical works of sterling
pare the repertoire, which was presented, with the promises of the manager for
before the opening of the season, we cannot fail to find a remarkable incon- value.
Poor Mozart! Some say that his "Don Giovanni" will live for ever.
gruity, and how badly the public fared through this incongruity. Mr.
Mapleson promised "Lohengrin," "Rienzi," "Huguenots," "Robert le We think that this prophecy is based upon enthusiasm, not upon an insight
Diable," and some other works of the grand repertoire, and nothing of the into the true state of musical affairs. If a change is not soon made, we fear
kind was done. First, he had an excuse, that the New York Custom House that Mozart, a few years hence, will hardly be treated any better in New
prevented the performance of " Lohengrin " by keeping back the dresses. York than he has been in Brazil. It's a pity, but it's true.
This excuse was destroyed weeks ago, and nevertheless Wagner's opera
never came to the surface. Proof positive, that Mr. Mapleson's company is
A TRIBUTE TO OLE BULL.
not fit for the repertoire of the modern operatic stage. And how should it
Extract from a sermon preached by the Rev. Mr. McKensie, Congregational clergyman, of
be, without a dramatic prima donna and a good bass, the two most valuable Cambridge, Mass., on Thanksgiving Day, Nov. 25th, 1880.
and most expensive members of a well-balanced company. We have seen • • I/iROM these men of our own commonwealth let me turn to a man of
what sad havoc Mile. Valleria's indisposition created during the last week of
A? another land, whose venerable and stately presence has been often
the season. Not even the hackneyed " Trovatore" was feasible, and the seen in our streets, who has been the citizen in many climes, making his
single representation of Mozart's " Don Giovanni " had to be given up. We name a familiar word, and filling the air with melody—a man who stood
are not sorry for the latter opera, for a cast with Mme. Swift, as Donna Anna, before kings, and held them in wondering silence by the witchery of his
and Signor Corsini, as Leporello, promised so little enjoyment, that a dis- fingers and the harmony of his thoughts—who drew the souls of men after
grace may have been averted through the opportune illness of Mile. Val- him by the sound of the mystic strings he touched. He made to himself a
leria. Fortunately for Mr. Mapleson, he has a conductor of Arditi's ability, great renown—the music and the man, both were honored, both were loved.
who makes the ensemble run smooth and without apparent hitches. But
the hands have lost their cunning, and the good gray head is
even this excellent master's sphere is limited, and does not reach beyond a seen " no Now
more.
certain boundary of knowledge, from which most of the foreign works are
"Yet will he keep his place with all who knew him.
excluded. We live now in the third year of Mr. Mapleson's era, and all this
" It was among his own people that he was greatest and best. He loved
time the basis of the repertoire has been founded on Bellini, Donizetti and his country,
its men and women, its mountains and fiords, its valleys and
Verdi. Mr. Mapleson now makes his tournee through the country, and is lakes, its history
and its hope.
not expected back here before the beginning of March. And before the
" He carried it with him where he went; he sought its honor, and toiled
spring season opens, he will renew his rodomontades, and fill the air of Man- for its
welfare; loyal and loving, he wove its name upon his brow.
hattan Island with his promises in regard to the future, and the mountains
" When he stood as one entranced, his tall form swaying to and fro, his
of promises will bear a mouse of facts. We never had great confidence in eye gazing
far away, and the utter stillness was scarcely broken by the sweet
Col. Mapleson, for his management "at home" was not of an inspiring weird strains
which floated into it, it was the heart of Norway we saw and
nature. Now, however, after having completed nearly his third season heard,
incarnate in her son, beating, breathing, singing in his spirit.
in America, we consider him a mere operatic adventurer, a mere specu-
"When he lay wearied and dying in his island home, Norway grew
lator who tries to throw dust into the eyes of the American public, and
gambles from season to season without distinct plans and regular business still!
" Spacious and comely was the room which he had made for song,
principles. And what will the end be ? Well, we leave the deduction to our
where the singer rested; but the land which mourned was wider.
readers.
" He heard the requiem there, but the land was to be full of requiem.
"From off the quiet waters came the tribute of admiring minstrelsy,
which lay will be repeated. When he was gone, royalty and humanity
POOR MOZAET !
hastened with their homage to his memory!
EWS has reached us from Rio Janeiro, that the opera of Don " Giovanni "
"The great city in which he was born begged for his honored form, to
was a few weeks ago performed in that city for the first time, and give it choicest burial. It lay in state in his own house. It was borne in
proved a failure in spite of an excellent cast. The news may appear sur- grand procession to the distant shore. The streets were strewn with living
prising to many, who over-value the standard of operatic audiences in general, green. The people wept, and praised. His trophies went before him, but
but we think there are many good reasons for the failure of Mozart's chef- the stricken hearts of men were on every side of him.
d'oeuvre in the Brazilian capital.
" Eloquent words of friendship and reverence were spoken. He found
What is really astonishing about the matter is that " Don Giovanni" was his resting place among the great, on a spot which had been kept for a king
never performed in Rio Janeiro before, although Italian opera companies, —which had found a king! And he wore no royalty but his great manhood!
comprising great artists, have been visiting the place for many, many years.
" Why this honor to a man?
Possibly managers have known the taste of the public, and suspected a failure;
"Because he had dealt well by the land. He had given it good and
or else the opera could not be cast in the right manner. The present glory, and the gift returned.
impresario had no scruples, and a failure was the result of his courage.
"Norway loved him, because he loved Norway."
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