Music Trade Review

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April 5th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
81
ception of the role, and that we missed. Rosina, as described by the
librettist, is an arch, bright, coquettish Spanish girl; Mme. Gerster gave a
OT so very long ago we spoke about the right singers, in their own somewhat dull impersonation of a Teutonic maiden with slight embonpoint,
private opinion, reserve to themselves in regard to the repertoire of an who is too lazy to help in the intrigues meditated by Figaro and executed
opera season, and are constantly ready to worry the manager. If the man- by the Count. We do not understand how the plot ever could be achieved
ager should listen to their advices, propositions and final threats, he would with such an indifferent Rosina. Corsini was a respectable Bartolo, and
be lost. Let singers abuse him; if he is a wise man he will follow his own Monti in the role of Basilio would have been good but for an occassional
plans. Still worse are those singers who imagine that an operatic impresario faulty intonation.
rules all the newspapers of the world, and is personally responsible for
In "Carmen" Signor Campanini made his first appearance this season,
every line which is written about the opera or his artists. It can be
was greeted by the crowded house like an old friend and favorite. He
reasonably expected that every impresario has his friends among the and
wonderfully and sang with great finish, but his voice is utterly
musical critics who will do him small favors, there may be even the possi- acted
wrecked, and Signor Campanini would do well to take a good thorough rest,
bility of a compensation for services rendered now and then, but these are if
would not be forced into a rest, dictated by necessity. The organ, ae
exceptional eases. We know very well that Col. Mapleson finds means and it he
is
now,
will not stand the least fatigue, and an operatic performance is no
ways to influence the opinion of one of the writers on musical subjects, but child's play
for tired vocal chords. Signor Campanini is a great artist, and
on the whole he cannot control the New York press, and we think he is smart a consummate
actor, and in spite of vocal deficiencies ho always will be able
enough never to have tried. It happened that, not long ago, Marie Swift sang to take his audiences
storm in certain moments of passion, but should
the part of Donna Anna, and it is seldom that the entire New York press have these vocal deficiencies by become
chronic, or turn to the state of aphonia, his-
given such an unanimous verdict. Even Mr. Mapleson's warmest friends histrionic abilities will not be able
him long in the favor of the pub-
could not do anything for the lady without risking their position, and Mme. lic. We heard him in " Carmen" and to in hold
other roles last week, and always found
Swift's performance was generally condemned in more or less strong and the same hoarseness during the first act,
and afterwards a clearer tone, pro-
out-spoken terms. Mme. Swift must have read a good many adverse criti- duced by a strain. This state of affairs cannot
last very long, and the tired
cisms, for she grew furious, and went straight to the Colonel's private larynx one fine morning will refuse obedience entirely,
and we should feel
office to demand redress. We do not know what Mr. Mapleson may have sorry to see the operatic stage robbed of such an excellent
artist through his
answered his fair and injured prima donna, but he is not the man to fight own carelessness.
the New York press for the sake of Mme. Swift, and so the matter rested.
Mile. Anna De Belocca repeated her attempt to perform Carmen, but
Of course, Mrs. Swift will not abandon the idea that her manager could
have saved her from the disgrace, if he had made earnest efforts. The did not reach higher than to an impersonation of a pleasant, good-looking
majority of inferior singers are of the same frame of mind, and good artists gipsy girl. Mile. Valleria was excellent as Michaola. Signor Del Puente
often have the same failing. Our readers will recollect Mme. Eugenie sang the Toreador with a sprained ankle, and limped through the part with
Pappenheim, who came to this country with Theodore Wachtel, and re- the support of a cane. This conscientious artist did not wish to disappoint
mained here two or three seasons, till one fine evening, when she was the public, and suffered pain for the sake of keeping faith with the public.
But nature demands her rights, and the day following the " Carmen "
expected to sing at the Academy of Music, she gave her creditors the slip
and went to Europe via Boston. Mme. Pappenheim, with all her short- matinee Signor del Puente was obliged to take to his bed, and his physician
comings, was an excellent artiste, thoroughly German styled, but earnest in kept him confined a week to close quarters. The first performance of
all her endeavors, and more of a dramatic soprano than any other singer who Mozart's "Magic Flute" had to be postponed, and " I Puritani " was sub-
has been here since. This lady was the terror of her managers in America. stituted. Nothing of special interest can be said about this performance.
She liked to see her name in every colnmn of every newspaper, and always " Mignon " drew one of the best houses of the season, the occasion being
held her manager responsible if enough was not spoken about her. She tke first appearance of Marie Roze in Italian opera this season, and the
was one of the queerest women we ever came in contact with. She could farewell of Mile. Valleria. Mme. Roze has been heard so often in this city
not imagine that any body could dare to find fault with her, that was entirely that her " Mignon " is well known to opera-goers.
out of the question; but when she was praised she never was satisfied. If the
Mile. Valleria, in the part of Felicia, scored a great success. The suc-
critic said that her C in the third act was excellent, she complained that the cess is partly due to the excellent work she has done during the entire
B flat in the fourth act was not mentioned at the same time; if somebody season, partly to the endeavors of her friends to show her the honors d'adieu
wrote that her Fideliovr&s a grand impersonation, she went to her manager and before leaving for England. We never liked her Felicia verv well, although
told him it was his fault that her Valentine was not named beside her Fidelio. she sings the part well, and exhibits good technique in the "Polacca." But
Mme. Pappenheim read newspapers continually, and expected to find her her conception of the part is weak, and does not give the correct and distinct
name every five minutes. And all this had to be managed by her impresario. portrayal of the character, the only character which remained Goethe-ish in
Nobody will believe what unreasonable demands singers are capable of pro- the opera. Mile. Valleria has sung since October every genre of music in
ducing to the disgust of their managers.
New York, and no artist can be expected to do justice to all and everything.
The lady is a pearl of rare value to both manager and public, and will be
welcome whenever she returns here. The day after the "Mignon" per-
formance she sailed for England, her first rehearsal with Mr. Ernest Gye, of
Covent Garden, being announced for April 12. Signor Navaro sang the
part of Lothario, and Campanini was Wilhelm Meister, while Annie Louise
Cary was cast for the role of Federigo, a small part with little more to sing
ACADEMY OF MUSIC.
than a single Gavotte.
ITALIAN OPERA.
Miss Cary had not much to do this season before she made her appear-
as Leonore in " Donizetti's Favorita." People said that she had lost
A NOTHER week and this winter's Italian Opera Season belongs to his- ance
voice, and it would be useless to deny that the velvety timbre of the
XA. tory. Mr. Mapleson will be glad when it is over, and commence at her
has disappeared. But there is tone enough left to make her imper-
once his plans for next winter, if he ever makes plans for his operatic organ
sonations interesting, and the night of the "Favorita" was an especially
campaigns. The New York public has been so accustomed to the old lucky
for her. She was in good trim and the numerous audience re-
stale repertoire, that every change in it is hailed with delight and warded one
her efforts in the most liberal manner. Signor Galassi gave the role
greeted by a full house. Even Rossini's " Barbiere " drew an enormous of Alfonso
his usual brilliant style, and with such splendid volume of
audience. This beautiful opera of Rossini's is generally not very successful tone that his in admirers
raved about him. We should prefer Signor Galassi
in financial respects, and this fact is not astonishing. To appreciate the less noisy, for after all,
not volume of tone alone creates the highest
"Barber," takes an audience fully conversant with the Italian language; artistic effort, and a little more
shading would make his phrases more inter-
there is a great deal of fun in the Secco Recitative, which is utterly lost, if esting. Galassi makes every possible
effect with his voice, and Campanini
you have to rely on the libretto for information. Moreover, we think that is just the reverse, he makes any possible
effect without his voice. He
an opera like the " Barber of Sevilla " cannot be produced effectively in a electrified the audience in the finale of the third
act in spite of his hoarse-
large opera house; and should only be produced in smaller theatres to ness, and managed to get through the Spirto geutil
in a manner worthy of
heighten the stage effects. Former representations of this opera under Mr. praise as far as artistic diction is concerned.
Mapleson's management at our Academy of Music showed many empty rows,
A performance of "Lohengrin" was announced, but while we are
this time the house was packed. What is still more astonishing is, that the
performance was declared acceptable, while according to our own opinion it writing these lines we do not know whether the promise had been fulfilled,
was one of the worst we ever have witnessed. Our modern singers have lost and if so, with what result. The last week of the season is to be opened by a
revival of "La Forza del Destino," the same opera which proved a failure
the faculty of handling opera bouffe.
winter here, and in former years in other cities. Col. Mapleson seems
The whole affair was sombre and mournful, and gave the impression, as last
to
have
a special foible for that opera of Verdi's, and having the scenery and
if the fun intentionally had been toned down by order of the management dresses he
that an airing will do them good before being shipped to
on account of the Lenten season. In a performance of the "Barber" the England. thinks
Malicious
have been afloat that the reproduction of "La
sparks of humor should fly around, and here everything was dull and dry. Forza del Destino" reports
is solely due to the influence of the beautiful Mary
Del Puente was the only artist on the stage who seemed to understand the Louise
who longs to appear in a strong part before the New York
treatment of the music. If the others had taken his cues the representation public. Swift,
If really Mme. Swift exerts so much influence over the manager,
would have been better. Signor Ravelli was as fair an Almaviva, as now-a- we are only
sorry that she is not able to charm her listeners with equal
days can be found. The days of Gardonis, Calzolaris and Labocettas are strength. Mme.
may sing to please her manager, and her manager
passed, and only occasionally a tenor may be found who can do justice to may allow her to Swift
sing to please her; this is mutual convenience; but the
the runs and scales of Rossini. But even in such a case let the tenor public has no interest
nor share in these proceedings; they are considered
beware of touching Verdi; the least attempt will destroy his powers in the private affairs, and Mme.
Swift's occasional appearances on the operatic
direction of light vocalization, and Almaviva will have lost his representa- stage are regarded as something
unavoidable. Least said soonest mended.
tive. Ravelli sings so many different styles this season, that his Almaviva
could not be more than a conversational character, which did justice to all
STEINWAY HALL.
which lay within his reach, and left out what was beyond. Mme. Gerster
made her first appearance as Rosina in this country and was deservedly fT^HERE was a lull in the concert season during the past two weeks. No-
applauded after a very excellent rendering of Benedict's "Carnival of JL body feels grieved about it, for, indeed, we have had one of the richest
Venice " in the Lesson Scene of the second act. If the opera was only musical harvests which can be imagined in a city. The lull has become a neces-
mounted for the sake of introducing the "Carnival," the management did sity, and we accept it gracefully, till in a few weeks the fever of testimonial, an-
well; otherwise Mme. Gerster's Rosina has to be recorded as a failure. The nual and farewell concerts will break out, and close the season in full blast
role, originally written for a contralto, has been usurped by all light and in a dignified manner. This kind of concerts belongs to the necessities of
sopranos for many years, and the role belongs now-a-days to everybody. So musical life, and cannot be abolished, although the general public does not
much has been altered and changed in Rossini's music, that only the take any interest in musieal entertainments of more complimentary, than
skeleton has been left, and everything in the shape of adornment is not by artistic character.
the composer. We will not reproach Mme. Gerster for having sinned now
The only important concert of the last few weeks at Steinway Hall, was
and then against the score, but we have the right to demand artistic con- the Farewell Recital of Mr. Franz Rummel, which occurred on Thursday after-
UNREASONABLE DEMANDS.
N
MUSICAL PERFORMANCES.