Music Trade Review

THE MUSICAL CRITIC AND TRADE REVIEW.
MUSICAL PERFORMANCES.
EOSTEE & BIAL'S CONCERT HALL.
I ^HE Concert Hall in Twenty-third street has given up its regular enter -
JL tainments for this month, and made arrangements with the Sternberg-
Wilhelmj Concert Troup to give a series of concerts at the hall. Several of
these concerts have already taken place, and given evidence that the arrange-
ment is a financial success. Good concerts for comparatively small admission
fees are sure to find a large patron-
age, and Messrs. Koster & Bial have
done the right thing in elevating the
character of their entertainment to a
higher sphere. Mr. Constantin Stern-
berg, among other interesting works
of his repertoire, has played "Grieg's
Concerto," and proved the same
conscientious artist we pronounced
him on former occasions.
His
phrasing and rhythmical precision,
were excellent, and if the orchestra
had not drowned him now and then,
the performance of the '' Grieg Con-
certo " would have been thoroughly
enjoyable. But sometimes the three
trombones came in as if they were
expressly engaged to use their lungs
to their utmost capacity, and of
course the piano had to succumb.
Mr. Sternberg is sure to make
friends among musical people, while
Mr. Wilhelmj satisfies the masses.
The charm of his tone is really wonderful, and the listener might forget all
other shortcomings. Wilhelmj is one of the greatest violinists, and most de-
cidedly the coldest we have ever heard. But the purity of his intonation is
remarkable, and his execution is of high rank. Miss Letitia Fritsch fur-
nishes the vocal part of the entertainments. She is a pretty girl, with a clear
voice of somewhat woody timbre. People who are not very critical like her
style, and we would consider it unjust to spoil their pleasure by fault-finding.
Rudolph Bial's orchestra fills the remainder of the programme, and while
some classical works are being performed during the first parts, the last part
is entirely devoted to music of the lighter and popular kind. The concerts
at Koster & Bial's are a success, and will remain so under the present careful
and generous management.
r
THALIA THEATEE.
"NISID A."
December 20th, 1880.
gigantic conception, and worked out in a masterly manner. The second
movement is grandly conceived and may b« called an inspiration, coming
from Old Johann Sebastian Bach. Richard Hoffman played the piano part,
and we do not think that he has often shown to better advantage, during
his career in New York. The Scherzo gave him excellent opportunity for
technical display for which he is justly celebrated. He mastered the difficul-
ties without assuming any manners, and gave a clear portrayal of the com-
poser's ideas. Messrs. Arnold, Gramm, and Werner supported him effi-
ciently. The second movement would have gained, if it were given a little
more pesante. The composer wants it played maestoso, and the majesty of
the movement is lost, when the tempo is hurried. The first movement was
well played, but the Finale was hurried, and lost its rythmical precision.
On the whole, the performance of the quartette was a treat and was vocifer-
ously applauded.
We are sorry that we are not able to bestow equal praise upon the
Beethoven String Quartette, which opened the concert. It was the quar-
tette in F from opus 59. We have no doubt that the members of the Club
had practised a good deal to reach the point of a good ensemble; with the ex-
ception of an occasional faulty intonation we have no fault to find with the-
ensemble, but the whole thing appeared weak ; it was not the real Beethoven, it
seemed as if the blood of the great composer had been diluted by a concoction,
made of the blood of the performers. The tone was thin, and in no place
could the players be raised to a degree of enthusiasm ; chamber music de-
mands a high standard of conception, and if you have to deal with Beetho-
ven, you want a big tone besides. A fly cannot trouble a lion, and the
united efforts of even four flies will never be able to imitate his roaring.
But in this case, we did not even see the attempt to imitate the roaring.
The lion was entirely ignored, and something was substituted for the noble
animal, whidi cannot easily be defined. In the interest of the Philharmonic
Club, we should advise it to try Beethoven as little as possible. The f 11
tone is not given to the players, and cannot be acquired so least said, soon-
est mended.
Mrs. Minna Jonas was the vocalist of the evening, and sang four Ger-
man songs. The lady, evidently quite young, has a clear enunciation, and
sings with the style of an artist, whose principal strength is the conceptional
quality. Unfortunately the voice does'not come to the aid of her good in-
tentions. The organ is neither mezzo soprano, nor contralto; her higher
notes are forced, and the lower register without timbre. The emission lies
hidden away far down in the throat, which produces very often false intona-
tion. If, in spite of all the deficiencies, Mrs. Jonas created a certain interest,
she has to thank her really delightful rendering for it. But the lady would
do well, either to learn English at her earliest opportunity, or to sing only be-
fore strictly German audiences. She can only please an audience, which is
able to understand the language in which she sings, for the principal charm
lies in her treatment of the poetry.
The next concert of the Philharmonic Club takes place on January 4th,
on which occasson Mr. S. B. Mills (pianist), and Mr. Eugene Weiner (fluta),
will appear as soloists.
'"T^HE Thalia Theatre, which devotes its principal attention to the produc-
JL tion of German operettas, gave on Tuesday, Dec. 7th, the first per-
ACADEMY OP MUSIC.
formance of Genee's "Nisida," and since that night the work has had a suc-
ITALIAN OPERA.
cessful run. The opera was first brought out in Vienna, and obtained a gen-
eral favorable verdict. Genee is known in New York by his "Royal Middy," r T^HE principal event of the Italian Opera season during the past two
and if we compare both operas, we may be inclined to give " N i s i d a " the 1. weeks was the production of Flotow's "Martha." The mere fact
preference. Musically the "Royal Middy" stands perhaps higher, for shows the weakness of Mr. Mapleson's troupe, in spite of his assurances,
its genre it reaches almost the style of serious opera; in phrasing and instru- that his ensemble is one that cannot easily be equalled. To produce a
mentation " Nisida " is clad in lighter garb, and the talented composer ap- " Martha," a great ensemble is not needed, and less pretentious companies
pears brighter and livelier. It is true, vulgarities sometimes strike the ear, have performed the opera very satisfactorily on different occasions. As the
and the constant use of the German form of couplet with a catching refrain fall season very soon reaches its end, and very few of the many promises the
reminds of the farce. On the other hand we find many valuable musical management volunteered before the season opened, have been kept, it is
traits, which are cleverly used in the concerted pieces, The plot is funny, only fair to say, that a cleat-er understanding of Mr. Mapleson as an opera
and the librettists have taken pains to furnish a story which was not trouble- manager seems to find its way into the mind of the public, and former
some to the composer. Genee, himself a librettist, is not apt to accept bad enthusiastics have turned grumblers. Even the critics on the daily papers
or ineffective libretti.
began to find fault with the hackneyed repertoire, and when it has come to
The performance by the German company was partly enjoyable ; but that, it really must be pitiful. " Martha," may be accepted occasionally ; it
for a lack of vocal powers it would have been excellent. But if a sextette is is a tuneful opera, which pleases the masses, and pleased them twenty-five
sung by six people, each of whom cannot claim to have a voice sufficiently years ago. Flotow lives through this opera alone on the operatic stage, his other
strong for stage purposes, a musical effect can hardly be expected. The works are nearly forgotten. But to make " Martha " now-a-days a musical
orchestra was noisy, because the brass swallowed up the small sound of the event, is ridiculous, yet almost too serious a sentiment to laugh at. Col. Maple-
few strings, and the choristers did their duty. Leaving severe criticism son, knowing the incapacity of his troupe, wants to fool those, who gener-
alone, the representation must be called a good one, so much more that the ously enabled him to build up a new business on this side of the Atlantic,
management took care to do everything in their power for a splendid mise-en while he was ruined by his speculations among his own people. But the
scene and elegant costumes. Mile. Mathilde Cottrelly acted the part of worst is, that the performance of " Martha " was not even a good one.
Nisida in her accustomed graceful manner, and was a charming representa-
Mme. Etelka Gerster appeared for the first time in the title role, and did
tive of the title role. Her voice is weak and thin ; she seemed to feel that not know her music. A prima donna who pretends to be a star, has no
herself, and in the concerted pieces Mile. Koenig, who was cast for Mercedes, right to treat the public in this manner, which shows indifference. Mme.
took the upper voice. This kind action on the part of this lady may be put Gerster will never become an efficient representative of "Martha." The
to her credit, and we are very willing to record it ; for in her own role Mile. role is one of the class termed semi-serin ; it demands a light soprano with a
Koenig could not do anything, for she cannot act, and is not very sympathetic remarkable volume of tone, which the Hungarian prima donnahaa not. The
to the spectator.
sweet upper notes have become thin, and as the voice has to be powerful in
Among the actors Mr. Adolfi took the prize as Don Palestro. He has the all the ensemble, we often missed the melody and had to be contented
talent to entertain an audience, as long as he is not obliged to offer the beaux with the accompaniment of the other three voices. We do not know at pres-
rentes of a formerly beautiful tenor voice, which has now sunk dowii into a ent, which character Mme. Gerster's organ is going to acquire. It inclines
mere shadow of its previous substance. Mr. Lube represented a traveling to be dramatic, but in that case a fuller and richer sound is needed. In its
impresario with a great deal of spice, and Messrs. Bojock and Schmitz as two present stage her voice may please one moment and fail to respond the next.
dramatic agents were much applauded after a song, describing their official The organ has become unreliable and unmanageable, no matter what her
capacity of securing engagements for all the great artists of the world. Mr. enthusiastic admirers may say to the contrary. As people had come espe-
Schnelle is the alleged tenor of the Thalia Theatre, and we think, that an in- cially to hear Mme. Gerster's " Martha," they must have felt disappointed,
stitute which makes the performances of musical works its principal aim, so much more, remembering the graceful and charming representation of
should procure a singer whose organ is less offensive. The gentleman may Mile. Valleria's last season.
be an excellent comedian and a useful member of a German company, but he
Signor Arditi invested all lively motives of the opera with a funeral
is a bad tenor, and sings constantly with the full power of his lungs. The garb. It is strange that this accomplished conductor will not learn the
American public will in January receive the English version of "Nisida" at works of foreign composers. Flotow needs lively rythms, and Arditi drags ;
Mr. Daly's Theatre. The manager promises a strong cast; we hope, that he as if he had to deal with a powerful work. Campanini had some good
•will keep his promise.
movements as Lionel, although his voice seemed to trouble him now and
then. Miss Cary and Signor Del Pueiite were the redeeming features of the
performance. They, at least, acted according to the spirit of the work, and
CHICKEEING HALL.
gave characters of distinction and precise coloring.
CONCERT OP THE NEW YORK PHILHARMONIC CLUB.
This week ends the fall season of the Italian opera in New York,
!E New York Philharmonic Club gave their second soiree this season,
on Dec. 2d, before an audience, which seemed to follow the perform- and the troupe will not be back until the beginning of March. There is
ance with attention and a certain degree of understanding. The principal some talk about a performance of "Lohengrin" during the final Week;.
feature of the evening was the quartette in B flat by Saint-Saens, which had whether the opera will be brought up now or made the chief attraction of the
not been heard before in New York for about six years. The work is one of spring season, we do not know, and what is more we do not care.
T