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Music Trade Review

Issue: 1882 Vol. 5 N. 18

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VOL. V.
THE CINCINNATI MAY FESTIVAL
PROGRAMME OF THE PERFORMANCES.
No. 18
NEW YOEK, APKIL 20TH, 1882.
Mr. Candidus; (c) "The Ride of the Valkyries,"
Orchestra; (d) Wotam's Farewell and Magic Fire
Scene, Mr. Henschel. "Die Gotterdammerung."
(a) Siegfried's Death, Orchestra; {b) Finale,
Brunnhilde, Frau Friedrich-Materna.
HTHE Fifth May Festival will begin May 16 and
THIRD AFTERNOON CONCERT, MAY 19.
J_ continue through the three following days.
"Euryanthe," Weber, (a) Overture; (b) Ro-
Theodore Thomas will be the Musical Director.
manze—"Unter bliihenden Mandel baumen," Mr.
SOLOISTS.
Candidus; (c) Cavatina—"Glocklein im Thale,"
Sopranos : Frau Amalie Friedrich-Materna, Mrs. Mrs. Osgood.; (d) Scene and Aria,—"Wo berg' ich
Concerto in G, Bach.
E. Aline Osgood, Miss Elizabeth Hetlich, Miss mich," Mr. Henschel.
Elenora Kopp, Miss Adah B. Wilson. Altos: Miss String Orchestra. Aria, "Che Faro Senza Eury-
Annie Louise Cary, Miss Emma Cranch. Tenors: dice," Gliick, Miss Cary. "In Questa Tomba,"
Mr. William Candidus, Mr. Theodore J. Toedt. Beethoven, Mr. Whitney. Duo, "Benvenuto Cel-
Basses: Mr. George Henschel, Mr. Franz Rem- lini," Berlioz, Mrs. Osgood and Mr. Toedt. In-
mertz, Mr. T. J. Sullivan, Mr. Myron W. Whitney. termission.
A Symphony to Dante's "Divina
Mr. George E. Whiting, organist. Choir of one Comedia," Liszt.
1. "Inferno." 2. "Purga-
hundred boys from the public schools; Festival torio." 3. "Magnificat."
Grand Orchestra,
Chorus; Grand Festival Orchestra; Organ.
Chorus of Women, Organ.
PROGRAMMES:
"FRANCOISE DE RIMINI."
FIBST EVENING CONCERT, MAT 16.
"Requiem," Mozart, Frau Friedrich-Materna,
Miss Cary, Mr. Candidus, Mr. Whitney, chorus, PRODUCTION OF AMBROISE THOMAS'S NEW OPERA IN
orchestra and organ; Symphony in F, No. 8, op.
PARIS.
93, Beethoven; Recitation and aria, "Abscheu- r
licher" ("Fidelio"), Beethoven, Frau Friedrich- I iHE reports received by cable indicate that
Materna. Intermission. Dettingen "Te Deum," X Thomas's new opera, which was produced on
Handel, Miss Cary, Mr. Toedt, Mr. Remmertz, April 14 at the Grand Opera, Paris, was not a suc-
cess.
chorus, orchestra, organ; Trumpet Obligate bv
J
Mr. F. Dietz.
We are not surprised at this, as Thomas is by no
means a genius, and with the exception of a soli-
SECOND EVENING CONCERT, MAY 17.
tary song here and there in his operas, they do not
"Passion Music" (according to the Gospel of St. show any signs of inspiration.
Matthew), Bach, Frau Amalie Friedrich-Materna,
We give a resume of
Miss Annie Louise Cary, Mr. William Candidus,
THE PLOT.
Mr. Franz Remmertz, Mr. Geo. Henschel, Mr. T.
J. Sullivan, Mr. Myron W. Whitney, Mr. Herman
The plot is laid at Rimini, in the year 1300. It
Brandt (violin), Mr. George E. Whiting (organist), opens with a fantastic prologue and closes with a
first chorus, first orchestra, second chorus, second fantastic epilogue. The incidents in both are sup-
orchestra, choir of boys from the public schools. posed to occur in a supernatural world.
The first tableau represents the portals of hell,
THIRD EVENING CONCERT, MAT 18.
Symphony in C (No. 9), Schubert; Scenes from the second hell itself.
Both Dante and Virgil appear in these tableaux.
Goethe's "Faust," Schumann, Mrs. Osgood, Miss
Kopp, Miss Hetlich, Mr. Toedt, Mr. Sullivan, Miss By a remarkable stretch of the imagination,
Cranch, Miss Cary, Miss Wilson, Mr. Henschel Thomas and his librettist give a conversation that
takes place between the two, Dante asking Virgil
Mr. Whitney.
who the two lovers are embracing upon a rock
FOURTH EVENING CONCERT, MAT 19.
seen in the distance.
Forty-sixth Psalm, Gilchrist. (Prize Composi-
Virgil tells Dante that they shall live over again
tion.) Mrs. Osgood, Chorus and Orchestra. A their past lives before his eyes, and Dante, upon
Supplementary Movement to the Ocean Sym- asking Virgil who they are, is told that they are
phony (new), Rubinstein.
Scena (Oberon), "Paolo and Francesca da Rimini."
"Ocean, Thou Mighty Monster," Weber, Frau
Then begins act first.
Friedrich-Materna. Intermission. "The Fall of
Troy," from "Les Troyens," Berlioz, Frau Fried-
rich-Materna, Miss Cranch, Mr. Toedt, Mr. Rem-
The first tableau of act one represents a Byzan-
mertz, Mrs. Osgood, Mr. Candidus, Mr. Henschel, tine oratory. Paolo and Francesca while singing
Mr. Whitney. Chorus and Orchestra.
a love duo, after reading out of a book, are sur-
prised by Francesca's father, Guido de Polenta.
FIRST AFTERNOON CONCERT, MAY 17.
"Le Nozze di Figaro," Mozart; (a) Overture— Francesca implores his pardon for having plighted
Orchestra; (b) Aria—"Non piu andrai," Mr. Rem- her troth to Paolo without his consent. Guido
mertz; (c) Canzona—"Voi che sapete," Miss Cary; informs them that the ferocious Malatesta, Paolo's
(d) Recit. and Aria—"E Susanna non vien," Frau brother, who is a rival, and who has been banished
Friedrich-Materna. Symphony in A (No. 7, op. from Rimini, is marching at the head of a body of
92), Beethoven. Intermission. Overture ("Geno- triumphant Guelphs to attack the town. Paolo,
veva"), Schumann. Aria, "Penelope Weaving a however, does not despair of saving his native
Garment" (Odysseus), Bruch, Miss Cranch. Am place and his love. He intends to rouse the peo-
Meer, Schubert, Mr. Remmertz. Duo, Mendels- ple of Rimini.
In the second tableau of the first act we see the
sohn, Frau Friedrich-Materna and Miss Cary.
Ball Scene — From the Dramatic Symphony, citizens and soldiers of Rimini upon the ramparts.
The tocsin sounds, filling the hearts of the citizens
"Romeo and Juliet" (op. 17), Berlioz.
with fear. Ascanio, Paolo's friend and follower,
SECOND AFTERNOON CONCERT—WAGNER MATINEE.
tries to encourage them. Paolo himself appears.
"Huldigung's Marsch." "Vorspiel Lohengrin." In a war song he reminds the people and the
"Die Meistersinger von Nuernberg." (a) "Gath- troops that their ancestors had responded to the
ering of Meistersingers," Orchestra; (b) "Pogner's call of Caesar on that very spot like men and
Address," Mr. Henschel; (c) "Prelude to Act III," heroes. He fails to rouse their patriotism; only
Orchestra; (d) "The Master-song of Walther von Ascanio takes his stand beside him. The gate of
Stolzing," Mr. Candidus; (e) Introduction to Act the city is soon battered down by the invaders
I, Orchestra. "Das Rheingold." (a) Scene II and Rimini will have fallen without striking a
before Walhalla, Mr. Remmertz; (b) "Loge's Tid- blow in self-defense. Then there is a triumphal
ings," Mr. Toedt; (c) Grand closing scene (Wotam entry of the Guelphs, sword in hand. Malatesta
Donner, Froh, Loge and the three Rhine daugh- marches in at the head of his soldiers, while the
ters.) Intermission. "Die Walkiire." (a) Prelude trumpets exultantly proclaim his victory. He
to Act I, Orchestra; (b) Siegmund's "Love Song," arrogantly orders all to bow the head. All but
Paolo obey. The brothers are face to face, threat-
ening each other, when Francesca rushes between
them. Malatesta for a moment stands irresolute,
and Guido, in his turn intervening, beseeches him
to pardon his brother, whom he now has in his
power.
Paolo protests. He asks no pardon.
Malatesta, however, lets him go, carrying Fran-
cesca away as a hostage, and announcing that she
is to be his wife. The victorious banners of the
Guelphs are then unfurled from the top of the
city towers, and the act closes with a triumphal
ensemble, mingling with the lamentations of Fran-
cesca, Paolo, Guido and Ascanio.
The second act takes place in the gardens of the
palace. On the right stands a chapel, connected
with the palace on the left by a gallery. Fran-
cesca enters, followed by her father. She hears
that Paolo has found death fighting gallantly
against his foes, and resolves never to consent to
the marriage forced upon her by Malatesta. Rather
than submit she will seek her lover in the tomb.
Guido and Ascanio remind her that by sacrificing
herself she will assure the safety of the city. Her
father tells her that a whole people prays on
bended knees to consent, and, yielding, she enters
the church. Ascanio follows, and is about to cross
the threshold when Paola, haggard and blood-
stained, appears. Saved from death by a miracle,
he is determined not to perish. Hearing hymns
and the sound of the organ, he is on the point of
entering the church, whon Ascanio bars the way.
But Paolo has had a glimpse of the bride and
bridegroom. Distracted by his grief he tears
open his tunic, and, despite Ascanio's efforts, opens
his bandaged wounds, and sinks back fainting as
the bridal procession appears. Malatesta is horri-
fied at the sight of his brother. Francesca, at
first overjoyed at finding her lover alive, soon re-
members her cruel situation. What though Paolo
lives? He is lost to her, she knows, forever. In
a burst of sorrow she pulls her betrothal ring
from her finger and tears the bridal flowers and
veil from her head.
Act three takes place in a hall in the palace of
Malatesta. A fete is being given by the new mas-
ter of Rimini to celebrate his wedding with Fran-
cesca. His passion for his young wife grows
stronger every hour, but meets with, no return.
Francesca is indifferent to his love and inconsol-
able. At this juncture we have a ballet. It is
composed of an adagio, a scherzo, a capriccio, a
habanera, a sevillana and a saltarello. At its ter-
mination Malatesta and Francesca are alone. He
woos, weeps and threatens, hoping to win her
love, and at last throws himself at her feet. Fran-
cesca appeals to heaven for help, and at that very
moment Paolo reappears. Malatesta calls to his
guards, swearing vengeance against his rival. But
Paolo is saved once more by the timely arrival of
a messenger from the Emperor, who has heard of
Malatesta's cruelty and has summoned him to his
court to render an account. A tumultuous scene
takes place. Malatesta's partisans urge him to
disobey the order. He silences their clamor,
however, and proclaims his determination to sub-
mit to the will of his master. Francesca he con-
fides to the honor of his brother and rival, whom,
though he hates, he trusts.
ACT IV.
Act four returns to the Byzantine oratory. Fran-
cesca is alone, sadly gazing on the book which is
forever associated in her mind with Paolo and her
love. A torch throws a faint light upon the
gloomy oratory. All around is silent. Since Mala-
testa's departure, Francesca has seen nothing of
Paolo. He is watching over her, but lest he
should perjure himself he shuns her. In the dis-
tance Ascanio is heard singing an insiduous
song.
Francesca listens, listens too much, to the coun-
sel of Ascanio. Then troubled and terrified, she
flees from the oratory. Just then Paolo enters it.
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280
April 20th, 1882.
THE MUSICAL CRITIC AND TRADE REVIEW.
He has been unable to restrain his longing to see
her again. He finds the familiar book and opens
it, when a smothered cry is heard outside. As-
canio's song has been cut short by an avenging
dagger. Paolo's first impulse is to call to his
friend, but the book he holds in his hand fasci-
nates him. He goes on turning the pages, and
while he is doing so, Francesca returns. Paolo
hides behind a curtain. Francesca, lookiug at the
book, perceives that some one has been reading
it. Her instinct tells her who. Passion conquers
duty and honor. The lovers rush into each other's
arms, heedless of their plighted faith. They are
interrupted by Ascanio, who enters, and before
dying at their feet has just time to warn them of
the coming of Malatesta, who sudenly rises before
them, sword in hand, and mad with rage and jeal-
ousy.
T
HE season will be ended in a few weeks, and I
will be about ready then to prepare for my
A cloud immediately veils the end of this excit- annual summer vacation.
ing scene from the spectator, and the infernal There are no musical performances of any con-
region is again presented. As in the prologue, we sequence to take place after the May Festival, and
are shown Paolo and Francesca on their rock, lost but few between now and then. I think, there-
in ecstacy and singing their love duo. Close to fore, that this is a good time to tell you my im-
them are Dante and Virgil. Dante evokes the
spirit of Beatrice, who appears at the back of the pressions about the season now ending.
stage surrounded by angels and encircled by a I have heard many concerts this season—more
halo. Beatrice and the angels hold palms in than during any other season that I have lived
their hands, which they stretch out toward Paolo
and Francesca as a token that God has forgiven through.
them. Then the two lovers reappear in a celestial I am astonished that after hearing some of them
apotheosis, introduced by three successive tab- I have lived through this season.
leaux representing Hell, Earth and Heaven, and
Many of these musical affairs were excellent.
the opera comes to an end.
Many of them have contributed a great deal to-
wards an improvement in musical taste in this
MASSENET'S "HEBODIADE."
country. Others again have had quite a demoral-
I observe with regret and surprise the announce- izing effect upon persons who have a tendency to-
ment of Massenet's "Herodiade" as one of the pos- wards acquiring respectable musical taste.
sible novelties to be produced during the forthcom-
On the whole, the season, with its grand Italian
ing Italian opera season at Co vent Garden.
As I feel sure I represent the feelings of most per- Operas, its Philharmonic Society Concerts, its
sons acquainted with this work, I trust you will new New York Chorus Society Concerts, the Dam -
allow me to utter a protest against its production on
the English stage. My objection to this work is rosch Symphony Concerts and the Oratorio So-
based on the character of the libretto, which, be- ciety Concerts, makes a good showing.
sides being ridiculous in itself, is most objectionable
and offensive, being a flagrant outrage on literary, I must add to these regular events also the
historical and religious good taste.
Chamber Music Concerts of the Philharmonic
I think few persons in England will be prepared Club, the New York Quintette Club, and the
quietly to accept the gross caricature of sacred his-
tory served out to them by M. Massenet's librettists, Standard Quartette Club.
who, besides numerous minor breaches of good I maintain that this array of musical events is
taste, have turned St. John the Baptist into an enor- equal to any that can be boasted of in any city on
mous "tenor du grand opera," who, in true operatic
style, warbles out a quantity of maudlin love ditties the globe.
to Salome, and have introduced within the sacred New York has certainly become a musical cen-
precincts of the temple a modern corps de ballet.
That I am by no means singular in my objections tre. The concerts given by these organizations
to this work is proved by the fact that, although it have all been well attended, and the pecuniary re-
has been in active rehearsal for many weeks, the sult was insured long before the season ended.
management of the splendid new opera house at
Geneva have been obliged to give up all idea of its But many other concerts have been given; so
production, since the Municipal council (a body by many that I hesitate to enumerate them. You
no means overburdened with religious scruples) have remember, of course, La Patti's concerts, and so
refused to grant any money toward it on the ground
that the libretto was of a nature to wound the feel- forth. I suppose that during the past season the
ings of many of the rate-payers, and that a numer- public has had the opportunity of enjoying from
ous and influential memorial to that effect had been
four to five musical events per week.
presented to them.—Letter to the London Times.
The character of most of the librettos of the And now the climax is reached in the May
Italian operas is objectionable, although for reasons Festival!
somewhat differing from those assigned by the I am getting proud of New York. There is
writer of the above letter.
idea prevailing that we must go to Europe to hear
The plots related in most of these librettos are
simply absurd. Of the operas given in New music; I suppose that idea will not be nourished
York during the past season we may refer to "Un so much hereafter.
Ballo in Maschero," with its ridiculous libretto; Of course, these many musical events indicate
"Mignon" with its distorted libretto, and "Travi- that musical opinion prevails in the community.
ata" with its perversion of "Camille."
Many more instances could be cited. No won- At a concert given a few evenings ago, I picked
der that Wagner has succeeded in creating a new up a programme which had some marginal notes
and healthy sentiment when the majority of operas written in lead pencil next to the names of th
of the Italian school presents us with a series of composer.
events on the stage which could never have hap-
pened in reality, and yet which contains no ideal- It reminded me of the quotations on a report o:
the Corn and Flour Exchange.
ism.
It was as follows:
A correspondent writes from Malta to the Lon-
Boccherini—Fair.
don World: "We have here this winter singing at
Taubert—Ditto.
the opera a most charming American lady, Miss
Handel—Good middling.
Sargent. She has a superb soprano voice, which
for clearness and sweetness of tone can hardly be
Rossini—?
excelled. She has appeared in "La Sonnambula"
Sarasate—Very fair.
and "Lucia di Lammermoor," in both of which she
Mattei—Very poor.
is all but perfect; but her crowning success has
Mendelssohn—Fine
grade.
been in "I Puritani," which brings out the full
Liszt—Very ?
volume of her voice.
Ambroise Thomas—Local value.
Rappoldi, the violinist, whose reputation is very
great just now, recently played in Leipsic, the fol-
Beethoven—A A No. 1.
lowing numbers being on the programme : Schu-
Arditi—Bad.
mann's D minor Sonata (op. 121), a Sarabande and
Schumann—A No. 1.
Tambourin by Leclair, and a Prelude and Fugue
Anon—Often excellent.
in C by Bach.
THE EPILOGUE THEN FOLLOWS.
Some judgment was necessary to grade this list.
Whoever did it must have heard music in his
day.
Arditi appears to be graded very low.
Arditi deserves it, I think.
A conductor who has been studying such artistic
cores as he has, should not compose at all if he
annot do better than he has done up to date. He
s eminent as a director of a certain class of Ital-
an operas, and he deserves this eminence.
I do not think that he appreciates Wagner, for
instance.
Arditi is a director of remarkable qualities in a
3ertain field. Now, if Dr. Damrosch possessed the
same qualities and exercised them in his field, he
ould be classed among the ablest men of the day.
Dr. Damrosch has the dramatic impulse. He
has the sympathetic nature which appreciates the
intentions of the composer.
His disposition leads him to be conscientious and
painstaking, and I know he is extremely emotional
quality much to be desired—but I am afraid
that he does not possess the quality of correctly
estimating the individual tendencies of the players
under him; neither does he appear to understand
how to control, and then keep the control, of a
large body of musicians.
He thus fails to communicate his sentiments as
hey should be communicated. They are conveyed
aultily, and a false impression made upon the
players or singers produces a faulty effect.
In all these respects Thomas is a superior direo-
ior.
*
#
*
There are some directors to-day occupying in-
'erior positions that fully combine the qualities of
excellent leadership.
Here is, for instance, Neyer, the director at the
Standard Theatre.
I observed him closely the other evening at a
performance of Solomon's operetta, "Claude Du-
val."
He is exact, firm, and sympathetic in his conduct-
ing, and fully understands his duties.
By the way, Will Carlton, the baritone, is sing-
ing Claude.
It is a good thing that he has decided upon a
lucrative position in light opera. He has been
overestimated immensely, and this has brought
him to a chronic state of self-conceit.
The other day, in bright daylight, I saw Carlton
in Union Square, near Broadway, actually exam-
ing his rather irregular features with the aid of a
pocket-mirror.
I heard him attempt William Tell in Italian
opera some years ago, and felt sorry that he did
not understand the quality of his voice and his
histrionic powers better than to attempt such a
role.
Even in Claude Duval he should improve upon
his acting, especially when Riley, a consummate
actor, is on the stage with him.
In the one important matter of enunciation,
Carlton is very deficient. Without a libretto he
cannot be understood, although he sings an Eng-
lish text.
It is not pleasant for me to mention all this to
you, but the daily press has been sugar-coating
him so extensively that I was induced to hear
him, and I thought this was a good opportunity to
say what I thought.
Baritones are often decidedly conceited.
Tagliapietra, a baritone known the world over,
and an artist of fine qualities, does not find any
room in his mind for conceit.
He is a modest and retiring gentleman who
never tells you all of his great successes, although
he has had many.
* * *
As I have just mentioned the daily press, I must
refer to an incident that has recently taken place
here.

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