Music Trade Review

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August 20th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
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theory, wliitfh fenders the singers subservient to
the orchestra, and makes of lyric music a logical
evcrcise rather than a source of enjoyment. The
plot of " I I Demonio " must always militate against
the success of the work. As this matter has al-
ready beeen discussed in our columns, we need
only take this occasion to protest against the
growing tendency of operatic librettists and com-
posers to facilitate the manipulation of their plots
by the introduction of supernatural personages.
Unless this tendency be checked by the leaders of
musical opinion, we shall probably be inundated
with lyric dramas in which the ordinary sources of
human interest will be wholly neglected.
So much respecting the additions this season
made to the ordinary repertory of the Royal Ital-
ian Opera. It will be needless to recapitulate the
numerous standard works given during the season.
With a few exceptions, they have been satisfactorily
performed, as might be expected from a company
boasting such artists as Mmes Adelina Patti,
Albani, Sembrich, Ftirsch-Madier, and Valleria,
Mmes. Scalchi and Trebelli ; MM. Mierzwinsky,
Gayarre, Marini, Cotogni, and Lasalle, not to
mention a host of others, enjoying high reputa-
tions. It is noticeable that one result of Mme.
Albani's continental touring has been the exclusion
of Italian artists in favor of those belonging to the
French and Belgian schools. We gladly welcome
talent, come whence it may, and M. Lassalle affords
sufficient proof that the French system of vocaliz-
ation may be compatible with the highest excell-
ence. But, without being so unkind as to mention
names, we must fulfill our duty by pointing to the
fact that most of the French and Belgian artists
recently engaged at the Royal Italian Opera have
sung in a faulty style. The basses and baritones
mostly sang as if they had the proverbial " plums"
in their mouths. The soi-disant tenors have gene-
rally proved to be weak baritones, with "upward
extensions," and although they have proved them-
selves able to reach high notes, those notes have
not been of true tenor quality. The last-named
vocalists have had the great disadvantage of being
contrasted with the new Polish tenor, M. Mierz-
winsky, who has made a great and genuine success.
Like Mr. Sims Reeves, and many other famous
tenors, this gentleman was originally a baritone.
Endowed with remarkable chest power, he has
added to his original compass the six notes ending
on D in alt, and these notes are not only of pure
ienore robusto quality, but are so completely under
his command that he can produce them either forte
or mezza voce. One such artist is worth a hundred
of the well-meaning but feeble mediocrities recent-
ly imported from France and Belgium.
The addition of Mme. Trebelli to the strength of
the company added greatly to the resources of Cov-
ent Garden, while seriously weakening the rival es-
tablishment. It should also be observed that Mme.
Fursch-Madier, a prima donna dramalica of high
merit, has proved herself a valuable acquisition.
The orchestra, led by Mr. Carrodus, has sustained
its renown ; the mises en scetie have done credit to
Signor Tagliafico ; the new premiere danseuse, Mile.
Viale, has proved worthy of her position, and inde-
fatigable zeal has been displayed by the two com-
manding officers of the operatic army, MM. Bevig-
nani and Dupont.
The latter by his skilful
direction of the first performance of Rossini's
" Guillaume Tell," won general approbation. His
zeal and energy have remained unabated since then,
but he has not strengthened the impression made
on his first appearance at the conductor's desk,
and has on some occasions shown indecision in his
beat, while on others he has hurried the time, and
has allowed the band to overpower the singers.
On Signor Bevignani's merits it is unnecessary to
dilate, but it is only just to him to say that the best
performance of " Les Huguenots " heard at Oovent
Garden for many years past was that given under
his direction a few weeks back.
HER MAJESTY'S OPERA.
The operatic season at Her Majesty's Opera has
concluded simultaneously with that of the Royal
Italian Opera. I t commenced under inauspicious
circumstances, calling for special manifestations of
the courage and energy often before displayed by
Mr. Mapleson. If existing proposals should be
carried out, the Italian Opera should find no home
in London, save at Covent Garden, the season of
1881 will have a melancholy interest, as the con
eluding chapter of a chequered but, on a whole, i*
magnificent history. It ia to be regretted that this
final chapter was not a brilliant one. It is true
that the managerial promise to produce an operatic
novelty was kept, but the novelty—" II Rinnegato,"
by the Baron Bodog Orczy—was hardly worthy of
a place in the repertory of Her Majesty's Opera.
To discuss the merits and demerits of this work
would be a wanton waste of time. It is not likely
that it will ever again be heard in London, and it
is to be hoped that its well-merited fate may deter
future managers from vexing the public by the
representation of works which would have no
hance of a hearing but for the pecuniary induce-
ments held out by composers or their friends.
The repertory of the season has presented famil-
iar attractions, but has included few of the grand
works on which the fame of Her Majesty's Opera
chiefly rests. The tardy accession of Mme.. Chris-
tine Nilsson enabled the management to produce
some of the most popular works in her copious
repertory. Boito's " Mefistofele" was warmly
welcomed; "Lohengrin" might have met with a
similar reception, but was delayed from time to
time, and finally announced during the last week
of the season.
"Carmen," with Mile. Minnie
Hauk in the title-character, attracted large audi-
ences, and "Mignon," first with Mme. Nilsson,
and afterwards with Mme. Marie Roze, achieved its
customary success. On no occasion, however, was
such a success made as brings a succession of
golden harvests, although it must be admitted that
many performances were given which merited
larger patronage than they obtained. Signor
Faccio, of La Scala, Milan—said to be the best
operatic conductor ever seen—was announced as
joint conductor with Signor Arditi, but did not
make his appearance, and on the latter gentleman
devolved the entire work of the season. It is due
to him to say that his great abilities never shone
more conspicuously. He had to deal with a chorus
of inferior quality, and a band which was not
entirely composed of first-rate artists ; but his
untiring zeal and consummate skill enabled him
to achieve admirable results, so far as orchestral
music was concerned.
Amongst the principal vocalists engaged during
the season were many of acknowledged excellence.
Mme. Christine Nilsson was a tower of strength.
Mme. Marie Roze, Mile. Lehmann, and Mile. Tre-
melli are artists of whose merits it is needless to
speak. Mme. Ilrua Di Murska's brilliant vocaliz-
ation in "Dinorah" and " I I Flauto Magico"
almost entirely compensated for the partial decay
of her vocal powers, and Mile. Emma Juch, a young
American debutante, obtained a well-merited suc-
cess. The names of MM. Campanini, Runcio,
Nannetti, Del Puente, and Galassi—and last, not
least by any means, Mr. Mass—are sufficient to
show that tenors and baritones of high distinction
were ready to fill important roles, and Mile. Caval-
azzi vindicated her claims to be considered one of
the most graceful and accomplished of modern
premiere danseuses. The stage management was
far from satisfactory. From beginning to end of
the season the musical public appeared to take
only slight interest in the proceedings at Her
Majesty's Opera, and it is to be regretted that its
history has closed with one of the least glorious
chapters in its illustrious annals.—Illustrated Sport-
ing and Dramatic News, London.
THE ABDOMINAL METHOD OF SINGING.
ROM personal experience I know something of
the complaints made by pupils in the earlier
stages of their study of this method of using the
breath. .
That it is the correct method of voice producing,
and that it conduces to general good health, is
made evident by the personal experience of the
most noted speakers and singers—and it augurs
well for the future that this, which was one of the
secrets of only the chosen few, is now becoming so
general a study.
A prejudice against it seems to have sprung up
in certain quarters.
This may be partly due to misconception,
springing out of what is, perhaps, not a very for-
tunate name; thus leading to a misunderstanding
of what it really means.
The ordinary musical student, not very well
versed in the physical mechanism of breathing,
may not at first quite clearly see what the abdo-
men has to do with it.
Perhaps it would be more nearly accurate, and
obviate some superficial objections, if the word
diaphragm were substituted for abdomen.
Another ground of prejudice is the failure of
some who have attempted it, because they did not
go to work in the right way to acquire the habit.
And some have even professed themselves to have
been injured by it. It is quite possible that they
may have been; just as so good an institution as
the gymnasium may have caused disease and even
death to some who, without proper guidance,
have indulged in physical exercise in wrong ways,
in excess, or at wrong times.
But this certainly does not argue against the
gymnasium. Neither does the injury that any
may have received in the attempt to learn to
breathe (in singing) from the diaphragm prove
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anything more than that the method has either
been abused or not understood.
The professor in one of our foremost colleges
used to tell his classes in elocution:
" Always put your powder behind your bullet."
This terse and sensible advice most completely
xpresses the motive for adopting this method of
breath control in singing.
The great secret of the use of the breath in
singing is just here—to learn to hold it under per-
fect control; to economize and graduate its escape
at will; to completely vocalize all that issues, and
thus prevent the blurring, rasping sounds that un-
vocalized breath always produces, and so acquire
the power of producing any gradations of tone
that one desires.
All this can be done and done easily by the use
of the "Abdominal Method," or by breathing
from the diaphragm. And it cannot be so easily
or surely done by any other.
In the first place, then, we must learn clearly
just what this kind of breathing means; how it ap-
plies itself practically to walking and talking; how
to acquire and govern it; and then will come the
more difficult study of its application to the uses
of vocal culture.
What, then, does it mean? Without going too
much into technicalities it may be enough to say
that the diaphragm is the muscular and sinewy
partition that separates the chest from the abdo-
men. The first thing to learn is that this may be
brought under voluntary control.
Large numbers of people hardly ever completely
expand and fill with air any more than the upper
part of their lungs.
In many the air-cells of the lower part of their
lungs are partially or entirely closed, like parlors
that are never used. But a singer needs, as a
breath reservoir, the entire capacity of her lungs.
She neads to be able to fill them and keep them
filled, until she utilizes the entire supply. This
power a proper control of the diaphragm confers.
When this is acquired one can fill the lungs to
their utmost capacity, and hold the breath easily
until it is completely used.
One may expel the breath from the lungs in
either one or two ways.
To illustrate simply, take the case of a child's
rubber balloon Let it be filled with air. Now
open, just a little, the neck, so that the contents
may escape slowly. The air now may be driven
out by pressure on the bottom, or the same result
may be produced by compression at the top and
about the neck through which the air escapes.
Thus people may breathe in either of two ways :
by depressing the upper part of the chest, and so
forcing out the air; or by the easier and more
natural way ef keeping the chest in a natural posi-
tion, and propelling the air by pressure of the
diaphragm on the lower part of the lungs. This
latter is "putting the powder behind the bullet;"
and is the correct method for all singers to use.
In this way by holding the vocal organs in place
and letting them perform their natural and only
proper function of shaping and vocalizing the
escaping breath, every particle of air may be
utilized. Thus, with perfect ease and, without
weariness or exhaustion, the singer may execute
the longest passage and most wonderful trill. It
is the escape of breath that is not vocalized that
rasps and roughens the voice. It produces hoarse-
ness, and the singer fancies she has a cold, when
the only trouble is an easily avoided abuse of the
breath.—A Teacher.
" I L EINNEGATO" AGAIN.
OR some inscrutable reason, the Baron Bodog
Orczy, who has caused so much suffering of
late by producing his terrible opera, " I I Rinne-
gato," decided that he must have three extra harps
and an extra row of violins in the orchestra, and
they were to have six extra rehearsals. From
doubtless sufficient causes Mr. Mapleson consented,
and some dozen violinists were engaged to swell
the concord of unsweet sounds. These players
came, read their Scores, and made their way
through them as best they could. Next day twelve
e-.tra violinists turned up for rehearsal, but the
composer was surprised to find that they were de-
puties—none of the original dozen had felt the
courage to try a second wade through the entangle-
ments of the score. The new-comers got on moder-
ately well considering, and a rehearsal was called
for next day. There were twelve violinists punc-
tually on the spot, but these again were new men
—sub-deputies, the deputies having declared, like
the original extra musicians, that they could not
stand it a second time. The last lot were most of
them men who did not get as much work as they
liked, and they labored hard to do their duty.
Next day, however, when the band assembled,
not one of these unfortunate musicians had muster-
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