January 20th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
" Boccaccio " has been running again at the Arch Street Theatre with the
same troupe as before (Malms). Next Monday the Ideal Opera Company of
Boston, which has met with exceptional success, opens at the same house
with " Fatinitza." Of course you know the strong solo list of this troupe.
The Germania orchestra played last Thursday, among other selections,
the overture to " Nozze di Figaro," also Mendelssohn's " Meerestille," and
Beethoven's "Fifth Symphony." Pretty good for one day. The attendance
continues to be large every Thursday. The first of John F. Himmeldbach's
Chamber Music matinees will occur to-day ; but too late for mention here,
'lhe programme is altogether good, opening with Robert Schumann's D minor
"Trio," including Rubinstein's D major " Sonate," opus 18, for piano and
'cello, and closing with a " Rondo " by Schubert in B minor, for piano and
violin. Mr. W. W. Gilchmt will sing selections by Gounod and also two of
Ms own composing. Mr. Himmelsbach should find large and choice audi-
ences for all of his four matinees, as every musician can feel certain that they
will be full of interest.
HOWE.
The Fourth Harvard Symphony Concert took place Jan. 6th. Mr,
xeorg Henschel—(why does he amputate his Christian name in English that
way, when we have so many " e's" to spare?)—was the vocalist of the con-
cert, The manner in which he gave the "Wo berg' ich mich," from
'Euryanthe," was in the highest degree dramatic and powerful. The ease
with which he accompanied himself on the piano as he sang a Handelian
aria (for encore) proved him as excellent as an accompanist as a singer, and
a superior musician. I do not think that American critics (at least in Boston)
have yet appreciated the great artist who has come, unpuffed, among us.
His pronunciation is strongly German, and it is, perhaps, this tliat prevents
their full appreciation. To my mind, he is the greatest singer we have had
here since Santley—in his line—and in some works I prefer him to the latter
vocalist. The orchestra works of this concert I only heard partially; but I
;an say of Mr. Zerrahn's reading of the brilliant " Penthesilea " overture
v Goldmark), that it is the best I have heard, as it gives the work with fire
and spirit, and yet with delicacy and splendid contrasts. It was superbly
played. In fact, the Harvards have shown a steady improvement all this
season.
BOSTON.
The last of the Philharmonic concerts took place the next (Friday)
MAPLESON'S HUMBUG OPERA TKOUPE.—HENSCHEL AT A HARVARD SYMPHONY
CONCERT.—TSCHAIKOWSKY's OP. 4 3 AT A PHILHARMONIC CONCERT.—PERABA's afternoon. It began with the " Tannhauser " overture, in which the strings
PIANO PLAYING.—E. B. PERRY'S CONCERT.—BENDIX'S CONCERT.—BLANCHE showed by active pantomime, even if they could not be heard. The next
number, two movements from Tschaikowsky's "Suite," op. 43, was much
ROOSEVELT SCORES ANOTHER FAILURE.
better balanced, and a very effective and interesting composition it was.
BOSTON, Jan. 16th, 1881.
Right here it may not be out of place to say that the fine programmes
OU have had a narrow escape. If Valleria had not been sick, Mapleson have contained a host of new and important works, and, after the very
would have given " Don Giovanni" in your city! Valleria was not slim interest taken by the public in the greatest works of Liszt, St. -Saens,
sick in Boston, but the audience was, and the performance was—very ill Tschaikowsky, Dvorak, etc., etc., I begin to believe that Boston is not so
indeed. There was only one thing comparable to its weakness in the per- wildly, terribly, disgustingly, awfully, aesthetically musical after all! Don"c
formances of the promising old hnjire.ssario, and that was the quaudo corpus
about this or I may be mobbed by the Beaver Hill dilletanti.
of the " Stabat Mater." There may have been funnier things than this, but tell anybody
To return to our - Tschaikowsky:—The works opens with a slow, 3-4,
they have not occurred in Boston. In studying the doings of the Mapleson ;heme,
given out by clarinet; this is at first entirely solo, but afterwards is
company during the Boston season, I have come to the conclusion that supported
by chords in slow, waltzy time. It is very characteristic in its
Americans desire to be humbugged, and be the manager Barnum or Maple- style
and
has
all the sadness of Russian music. The second movement was
son, if sufficient braggadocio is made, they will respond with many ducats.
so outre, but "still quite interesting and well played, save in the horn
Pecuniarily, the season has been very successful; but musically—well, I i'eel not
that it should be called Arditi's Opera Co., for everything wherein the part. The andante from Schubert's unfinished " Symphony " and the " Wal-
troupe excels its predecessors is due to him. The chorus is better than des-weben," from Wagner's "Siegfried," were also finely given, the laat
that which Strakosch or Maretzek used to favor us with, the orchestra much particularly so.
Ernst Perabo was the pianist of fc the concert, and his excellent perform-
surer than those of former troupes, and the roughnesses of ensemble work
have been reduced to a minimum. But hero the best-disposed critic (if he ance made me wish to hear him oftener; he gave the "Norbert Burgmuller
be honest) must stop. The soloists are not nearly as good as the combina- Concerto " in F sharp minor, and played with a reserve and taste that was
tions of artists which came to Boston ten or a dozen years ago under Maret- in keeping with the smooth style of the composition. The pupil of Spohr
:zek. There is absolutely nothing to warrant the larger prices which Maple- shows traces of following the clear melodious, purely harmonized school of
son is endeavoring to foist upon the American people, except that the opera his master. The work is not in the most modern vein, but may be classed
is " Her Majesty's " (and some of our " republicans " love a lord), and that, with those of Hummel, Spohr, and even Mendelssohn. Its first movement
with some people, high prices mean a determination to be pleased. The has a long, orchestral introduction after which the pianos enter effectively
company, as a whole, is as good as those which used to charge half as much. against a subdued throbbing of contra basses pp. The second movement
•Gerster's voice has deteriorated rapidly, and in Lucia one could scarcely (Larghetto) is thematically treated at some length. The third movement has
believe that it was the same organ, which was so fresh, so brilliant, and some melodic responses between oboe and piano, and is taken in rather a
pathetic two years ago. Campanini is as good as ever, his voice not showing maestoso style, and has a powerful climax. The pianist gave the clear melo-
any signs of wear. Valleria is at her best, and is a worthy star, but, of dious work in a manner that made it comprehensible to all, and certainly
course, not comparable with a Nilsson, or Lucca, or other great luminaries. earned the great applause with which he was greeted. But why he refused
Ravelli is very good; Del Puente good and bad by turns; Swift bad with to play the piano solo, which was placed in the second part of the pro-
gramme-, is not quite clear to me.
but few turns.
An interesting number of the concert was " Beautiful Munich"—Waltz
But I do not desire to repeat an oft-told tale, I only wish to give my de-
cided opinion that with such a company Mapleson's repertoire must be Symphonique! (by G. W. Chad wick), as the programme vaguely said. It
limited and grand opera entirely out of his reach. Even the desperate was a pretty waltz, well scored, swingy, and pleasant; but the "sympho-
nique " must have dropped out and got lost; at any rate, it was not different
effort to give " Don Giovanni," resulted in a general discomfiture.
The cast was Don Ottavio, Signor Ravelli ; Don Giovanni, Signor Del in style from the " Wine, Woman and Song," or " 1,001 Nights," or many
other waltzes that are not " symphonique." Mr. Chadwick has too much
Puente ; Leporello, Signor Corsini ; // Commandnlore, Signor Monti ; 3fasetto,
Signor Grazzi ; Donna Elvira, Mile. Alwina Valleria ; Donna Anna, Mme. intrinsic merit to need such tactics.
The concert came to an end with the ever impressive overture to
Marie L. Swift, and Zerlina, Mme. Etelka Gerster.
The overture went finely, and when the curtain arose one was in the " Egmont;" but I venture to hope that the end is not yet. Here is an excel-
mood to expect a performance at least equal to that of the Nilsson company lent orchestra at Boston's disposal, " armed and equipped and eager for the
of six years ago. Sig. Corsini did not leave the public long in doubt as to fray," and a subscription list judiciously spread about, or an assured
what they might expect for he began the "Natte e Giorno Faticar " in a encouragement on the part of the noisy art praters—I mean art patrons-
manner that showed that he knew nothing of the character of the Sancho would enable it to secure a permanent foothold. Boston can support two
Panza-like squire. He not only sang badly, but he succeeded in making of orchestras, if the way the theatres have been crowded for the last two weeks
the part a buffoon's role. Now Leporello was never intended by Mozart for proves anything; and the only great need of the Philharmonic orchestra is an
.an absolute ass, as any one can see who will consult the German score. The increased number of strings, which, of course, could be secured with money.
•'Catalogue Aria" was effectively bixtchered, and the last scene much over-
Mr. E. B. Perry gave a concert of much interest, Jan. 8th. I have
done. Ronconi, although he also Italianized ^the part, made it fifty times before spoken of this musician. He is one of the most poetic pianists I have
more effective than this Hans Wurst.
ever met. He is totally blind, but in speaking of his performance I do not
Mrs. Swift began tolerably Avell, but she deteriorated with such amazing dwell on this fact, as he does not need to be classed as a phenomenon—he is
rapidity that had the opera been longer she would have been reduced to too excellent an artist for that. His conception of Chopin, and of the modern
shrieking or pantomime. She flatted frequently. Valleria sang finely. genre pictures of Grieg, Moszkowski, and Tschaikowsky is better than any
The florid music of her part was clearly phrased and sung with pure intona- that I have lately heard. Of course his weakest point is in the heaviest
tion. But anything worse than the '' Masker's Trio " has yet to be heard in Schumann works. He was assisted on this occasion by Mme. Cappiani and
Boston. Gerster was a failure in Zerlina. The beautiful " Batti Batti " Mr. Webster, one of his pupils.
lost much of its charm through a lack of sprightliness and naivete, but the
Mr. Otto Bendix, a new pianist to America, but well-known in Denmark
excellent manner in which she sang'• Vedrai Carino " made some amends. (and of whom I have already spoken favorably in your columns), has this
Ravelli was at his best as Don Otlavio, His singing " II Mio Tesoro " (intro- week given an excellent concert assisted by Mrs. L. S. Ipsen. The work in
ducing a clear and powerful B flat,) created a furore and gained him a double which he made the best impression was Grieg's "Ballade " in the form of
encore. Del Puente was correct but had scarcely the " dash " for the Don's variations on a Norwegian melody. This is in every respect a very interest-
part. Masetto and the Commandatore were well enough acted and (in the
effects and strange progressions which Grieg
short solo work) well sung. You will see therefore that on the whole you ing work, in. full It of is the of quaint
rather a sombre tint, having the melancholy minor
have had a fortunate escape, for a good soloist here and there, and a chorus, delights
do not make a Mozart opera any more than one swallow makes a summer. strains which many northern composers have accustomed us to.
The climax is superbly worked up, and after a brilliant slretto, an excel"
The beautiful passage of " Three Rhythms " in the Ball scene was ommitted ;
•would that all the concerted music had been also omitted, for generally it lent anti-climax of a few delicate legato chords, makes an unexpected close.
was either out of time and tune, or when correct, the performers sang as if Mr. Bendix has improved in power since I heard him last, and is a very
they were treading on eggs. All in all—the "draggiest," slowest perform- intelligent performer; he does not obtrude his personality in his perform-
ance, and is as excellent a musician as he is a pianist, and musicianship is a
ance of " Don Juan " I have ever heard.
scarce article among the pianistic tribe. Mrs. Ipsen, the " mezzo-soprano "
For the benefit of the British manager who has come over to teach us (per programme), who assisted, is a mezzo-soprano who is a contralto! Her
what good opera is, I subjoin part of the cast of the opera as performed at voice is rich and pure, her intonation excellent, but her " expression " a trifle
Selwyn's Theatre, Boston, in 1867. Donna Anna, Parepa-Rosa; Zerlina, monotonous and unformed. This was noticeable in '' Gretchen am Spinn-
Minnie Hauck ; Leporello, G. Ronconi ; Don Ottavio, Baragli; Don Juan,
rade." She sang three Grieg songs charmingly, and it was appropriate in a
Bellini.
concert where two northern artists appeared that the great northern maestro
The conductor was Carl Bergman, and the impressario, Max Maretzek. should be well represented. My letter has spun itself out to an unconscion-
The prices were not so high as at present, but (to make things equal) the able length and I will reserve notice of a couple of important concerts until
standard of the performance was liigher!
next time.
The best Maplesonian performances in this city were " Martha" and
But I must make mention of the deplorable downfall of the " Masque
"Rigoletto,"
Y