October 20th, 1880.
THE MUSICAL CRITIC AND TRADE REVIEW.
She has a good deal of execution, and showed some roulades, which testified
her earnest studies, but her voice is small and insignificant, and Mile. Schaef-
fer will find it hard work to bring herself into rapport with an American au-
ME. CONSTANTINE STERNBERG'S CONCERTS.
dience.
"Mignon," last season, one of Mr. Grau's best performances, was this
E. CONSTANTINE STERNBERG, the Russian pianist, made his first
appearance in America at the Academy of Music, on October 7. The time the weakest representation this generally conscientious manager has
,
name of the artist had been largely advertised beforehand, and expec- offered to the public.
After the performances of "Mignon "the representation of "Girofle-
tations had been aroused to a high pitch; and it is only fair to say that, to
the majority of the audience, Mr. Sternberg proved a disappointment. This Girofla," felt like healing balm laid on an open wound. It was really a con-
is a fact, an undeniable fact, and facts must not be disguised. But it is not solation, after the mournful rendering of Thomas' opera. Mile. Paola Marie's
less fair to add that the disappointment Mr. Sternberg created, was not his impersonation of the dual character is well known, and Duplan is as funny
fault at all. Every new pianist who makes his debut at our Academy of as ever. Tauffenberger made a lively and graceful Marasquin, and Nigri sang
Music, will be more or less a disappointment. The place is not suited to and acted the part of Mourzouk in a manner highly commendable. The per-
piano performances, and it is hard for a virtuoso to make a stirring effect. formance on the whole was very enjoyable.
The representations of Mr. Grau's company in New York will terminate
And Mr. Sternberg is not a virtuoso, in the ordinary sense of the word. He
is a thorough musician, and his piano playing is invested with all the knowl- on Wednesday next, after which date the troupe will embark directly for Ha-
edge of a musician. He is free from trivialities, and his conceptional powers vana and South America.
are strong.
HAVERLY'S THEATRE.
We think that Mr. Sternberg was not fairly judged after his first appear-
ance here ; he is one of the few pianists who grow upon their listeners. His
DUDLEY BUCK'S OPEKA "DESERET."
playing is so thoroughly musical, is so void of dazzling qualities, which take
on the spot, that we can understand the general public does not take kindly A FTER several weeks constant rehearsals Mr. Dudley Buck's comic opera
to him at once. We see now how it will be. He disappointed at first; then J\_ " Deseret" was produced before the American public on Monday, the
they began to become aware of his sterling qualities, and finally they will llth inst. We have here to deal with a work thoroughly American.
recognize him as an excellent artist. He is not the man to tire an audience, Author, composer, artists, place of action, plot, everything American ; and
because his repertoire is rich, and shows versatility.
it is certainly a fact, which cannot be disguised, that it must fill the nation
* At his first two concerts he had the assistance of a large orchestra, with pride to have in their midst a man of Mr. Dudley Buck's talents and
conducted by Mr. Gotthold Carlberg, and performed the Scharwenka Con- merits. His name is well known throughout the country ; and having gained
certo. This composition has only been performed twice in America—once by the prize at the last Cincinnati festival, has become familiar to those who
Mdnie. Madeline Schiller, the other time by Mr. Bernhard Bockelmann, and only indirectly come in contact with music. Mr. Buck is a musical scholar,
is consequently comparatively unknown here. The work has been recog- known as such, and highly esteemed among his professional brethren. If,
nized in Europe as one of the most prominent modern works, and even nevertheless, his comic opera cannot be pronounced a success, it is hardly
Franz Liszt spoke about it in the most nattering terms. The composer gives right to hold him responsible for the result.
up the usual form, throws the slow movement into the first part, and makes
According to our idea, a comic opera must be either funny or sparkling.
the second movement the scherzo, which is the principal feature of the con- The plot must be interesting, and the public must be amused. People who
certo. The entire concerto is rich in traits of genius, and shows the great listen to the performance of an opera comique, do not care to trouble them-
talent of Scharwenka to the best advantage.
selves about counter-point; the movement itself has to carry them, or they
Mr. Sternberg played it like an excellent pianist and a musician of high never will be carried. We have the sparkling French opera comique (not to
rank. Even if he occasionally blunders, he never loses his artistic balance, be confounded with opera bouffe), the more robust but humorous style of
and is never in doubt about rhythmical precision. The orchestra accom- German comic opera, and the Italian opera buffa, which is funny and ad-
panied the difficult work with delicacy and good coloring, especially notice- mits occasionally some bits of the clown business. The well-known attempts
able in the second movement. Mr. Sternberg played as solo pieces three of English writers recently, cannot count as yet in musical history. But it
musical bijoux, by Grieg, and Liszt's " Rhapsodie Espagnole." The Liszt com- seems that the success of Sullivan and Cellier has aroused Mr. Buck's am-
position is hardly known here, and we do not think that anybody needs to bition to do for our country what the foreigner has given us, and "Deseret"
feel grieved about it. It is true it is rhapsodic in the manner of Monsieur is an outgrowth of the " Pinafore " rage.
l'Abbe ; on the other hand, it is so long-winded with little bits of themes,
Whether Mr. Buck has exactly the talent for the comic opera style, we
that the listener gets tired, and has no feeling of satisfaction, as after the have reason to doubt, although if he had, his attempts would be neutralized
by the tameness of such a libretto. Mr. Croffut, well known as a brilliant
"Rhapsodies Hongroises."
The orchestra opened the concert with Meyerbeer's brilliant overture, writer, evidently knows very little of the stage and its effects. You can
" Struensee," and gave as orchestral piece de resistance Wagner's "Procession write a splendid feuilleton, full of wit and humor, and entertain your readers.
of the Gods," from Rhinegold, the latter work for the first time in New York. The same wit from the stage may appear dull and lose the effect, well pre-
pared and well intended. Whether brilliant or not, the stage effect must be
The orchestral performances were heartily applauded.
Mr. Sternberg's talent was acknowledged at the Academy of Music, es- painted with broad, even crude outlines, and the puns must have their sharp
pecially by musicians, who appeared in full force; but he cannot claim to edges, if they are calculated to take with the audience. Gilbert understands
have made a deep impression. We do not think that as a mere pianist he is a the secret, and can be taken as a pattern.
The French comic opera dispenses with puns and makes the plot and the
specialty ; but his conceptional strength, and his manner of phrasing, stamp
him with the mark of something which is not to be found every day among situation amusing instead. Characters of French comic opera are generally
impersonations which could be taken right out of the frame and put into the
artists who perform on the piano.
Mr. Sternberg found the first acknowledgment of his merits at a matinee comedy. Of different nationality, with different style—nevertheless—as there
given on Wednesday last at the Madison Square theatre. He performed on is something of the French vivacity in the American nation, we should think
this occasion works by Liszt, Chopin, Moszkowski, Scharwenka, Saint-Saens, that an imitation of the style of opera comique would be welcome to them.
and some of his own compositions. In all his playing he gave proof of a "Deseret" occasionally has a comic effect through situations which are
strong individuality, blended with artistic objectivity. He was supported by really well invented, and really form the principal merit of Mr. Croffut's
Miss Anna Drasdil, the violinist J. B. Poznanski, Toedt, the tenor, and G. work. And this libretto was accepted by Mr. Dudley Buck with the intention
W. Colby, accompanist. These Wednesday matinees will be continued for of giving this country a comic opera of sterling value. The composer went to
several weeks, and it is not unlikely that during that time the Russian pianist work with the will of a serious musical man, and we have received a work of
•will perform some more extensive works with orchestral accompaniment in sterling value, it is true, but not by any means a comic opera.
The musician takes delight in the manner Mr. Buck has treated the or-
evening concerts.
chestral and the choral part of the opera. He may be enchanted with rhythmi-
FRENCH OPERA.
cal fineries, for instance—in the song of the soprano, in the second act ; but
MIGNON—GIROPVLE-GHMXFIiA.
nevertheless we constantly feel that we have before us a man whose talents do
R. MAURICE GRAU gave a few performances of " Mignon," evidently not lie in the territory of comic opera. The broad style suits him best; and
for the sole purpose of introducing some new artists to the public. The the ensemble-finale, taken as a sample, would be highly effective, even grand
representation on the whole was bad, or let us call it vile, really the most signifi- as " Hallelujah" in a church on Easter Sunday. We have not too many honest
cant term which can be applied to it. The orchestra was entirely out of and talented composers in America ; it is therefore our earnest wish that Mr.
joint, and scratched and scraped through the different numbers, as if they Buck would find his labors rewarded, but we should think that serious opera
were paid extra to play wrong notes. Of shading and delicacy nothing was would carry him sooner and more effectively to his aim.
to be heard, and M. Almeras, the chef d'orchestre, fought the air violently Much of his music of " Deseret" is really thoroughly operatic, and
with a baton of enormous size, but to no apparent avail. The work on the especially the soprano is treated in a manner which is heavy enough for more
stage was done with more exactitude, and Mile. Paola Marie, in the title role, serious work. Friends of the composer took great interest in the production
took the principal share of the honors, and deserved it. Her Mignon is to of " Deseret," and showed their friendly feelings on the first few nights.
our taste, her best character, is sympathetic, brilliant, and full of that spirit But friends cannot carry a whole season, and we do not think that the general
which should rule opera bouffe. The three debutants give the impression of public throughout the country will be sufficiently attracted by " Deseret"
three amateurs, or, if not that, beginners, who stepped on the stage for the to make the venture a great success. The opera is well cast, and Mme. Polk
first time. Everybody must make a beginning, it is true ; but whether the and Miss Belle Cole are excellent artists, whose voices show to best advan-
tage. The male performers are less brilliant, but good, and do their duty
city of New York is the place suited to such experiments, is doubtful.
M. Mauras is an agreeable man ; he reminds us of Capoul, and has a with more or less effect. The chorus is strong, and shows the training pow-
light voice of rather uncertain timbre, an organ which you cannot classify ers of the composer. " Deseret" will be played in New York for the last
after first hearing. It appeared as if M. Mauras forced his voice occasionally time on Saturday night, after which date it will be taken on the road.
and produced a huskiness, which did not add to the charm of his perform-
ance.
CHICKERING HALL.
The tenor was very well received and much applauded. M. Bernard,
PAULINE NININGER'S CONCERT.
the baritone, has a nice voice, but is one of the most uninteresting singers we
ISS MARIE PAULINE NININGER, having returned from Europe
ever have met with on the Trench operatic stage. His Lothario was void of
after a career of several years in Italy, gave a concert at Chickering
characteristics ; a singer, clad in rags, with a kind of property harp, prom-
enaded the boards ; that was about all ; there was no poetry, there was no Hall on Thursday last, under the management of Mr. Geo. W. Colby. The
conception, and it seems that M. Bernard is better fitted for concerts than hall was filled by a numerous and refined audience, and the clever manage-
ment had undoubtedly something to do with its cheerful appearance,
for the stage career.
The failure of the performance was Mile. Josephine Schaeffer, who sang although Miss Nininger is said to have many influential friends here. The
the part of Philine. Mile. Schaeffer is a wiry girl, with a wiry voice, which lady sang "Polacca," from " Puritani," aria "Finale," from " La Somnam-
has been well cultivated; is no actress at all, and did not give the impression bula," and the grand aria from " Der Freischiitz." Her voice is formed after
of a coquettish actress, but had the air of a chambermaid in a silk dress. the Italian method, which reduces volume of tone by means of continual
MUSICAL REPRESENTATIONS
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