Music Trade Review

14
THE MUSICAL CRITIC AND TRADE REVIEW.
January 5th, 1881.
full of puns and bon-mots. Even without the music the comedy, as such,
may please. The composer has done a great deal, and yet, if we call "Oli-
vette " a comic opera, left many things undone. There is actually very
OUR CONCERT HALLS.
little operatic music in the work—a few ensembles of very light character, no
REAT changes have taken finale of any account—nothing which could lead us to the conclusion that
J place in our popular eon- Andran is an operatic writer. On the other hand we must give him his due;
cert halls. Alter the famous Theo- he has composed^ some exceedingly sweet romances and couplets, and
dore Thomas orchestra closed the avoided all which may be called trivial. Occasionally we hear a strain which
fall season at the Metropolitan reminds of Suppe (for instance, the valse in the first Act is somewhat like
Concert Hall on Dec. 7th, Ru- " Boccaccio"); but, on the whole, Andran is as original as now-a-days romance
dolph Aronson's superb orchestra writers can be. The instrumentation seems to be very fresh—-at least, as
steps in again to furnish the far as we can judge. Our judgment, however, has to be accepted with
musical entertainments on Sun : reserve; for a diluted orchestra, with a single trumpet and no trombone,
day evenings, in conjunction with cannot give the correct impression of the original score.
The performance by the members of the Comley-Barton Company is
other attractions. Mr. Aronson's
powers as a conductor are too well very enjoyable, and the audience is amused. The title role is in the hands
known to be mentioned here of Miss Catharine Lewis, who looks well, sings nicely, and acts with a great
again ; not less known are his pre- deal of vivacity. The song at the end of the first act is charmingly ren-
dilections for antediluvian com- dered. Mr. Digby Bell is to be mentioned next, in the role of Coquflicot.
positions, and we see him once His voice is worn, but you hear the artist who has made serious studies; his
more fall back on old Jullien's very emission of tone shows operatic training. Mr. Armand has a nice tenor
shabby compositions. The feature of the beautiful place seems to be shrouded voice, somewhat throaty, but very clear in the upper register. The art of
in darkness ; for the present the hall is hired to an entrepeneur of parlor acting seems to be unknown to him, as is generally the case with tenors.
skating, and what after the " patinage " comes nobody seems to know, not The part of the Countess is in the hands of Miss Hetty Tracy, an actress,
who does not sing at all. In the original, probably she has to sing her share;
even the management.
but the management preferred to change the part sooner than put an
A serious change is to take place in a few weeks at Koster & Bial's Hall. infliction
the public. Mr. John Howson gives a strong portrayal of the
Rudolf Bial has resigned, and withdraws from the place to make room for Captain, upon
is repeatedly applauded. The minor parts are satisfactorily
Gilmore's military band ; different versions are given us concerning the rea- filled, and and
chorus sings vigorously. The mise-en-scene is very fine, and
sons of Mr. Bial's resignation, and we hardly know where to find the bottom the dresses the
rich and appropriate. We must repeat, that we have seldom
of the matter. There seems to be a dissagreement between the proprietors witnessed a are
cleaner and neater musical performance in spite of all its draw-
and musical director in regard to the quality of musical performances, and backs.
Rudolf Bial does not want to give in. We are sorry that it has come to this ;
The first performance of the same opera in the American version at the
Mr. Bial helped the place, and vice versa; there was a mutual assistance, and
it will be not easy for this favorite leader to find another field of action, Park Theatre will be of great interest. We shall speak about it in our next
where he can show his talent to better advantage. Everybody forges his issue.
own destiny, and Mr. Bial, of course, knows best what he can do. Gilmore's
BROOKLYN PHILHARMONIC.
Band at the place is a mistake, as the hall is badly suited for reed and brass.
May be, the difficulties now pending, can be compromised, and Mr. Rudolf HHHE second of the series of Brooklyn Philharmonic concerts was given at
Bial will retain his position. It is always good to know on which side the bread J_ the Academy of Music on Saturday evening, Dec. 18th, the programme
is buttered, and both proprietors and conductor will find out, that in their being as follows:
mutual interest they should arrange matters amicably and settle difficulties.
Ode on St. Cecilia's Day, Handel,; Symphony No. 4, D minor, op. 120,
Let them "split the difference."
Schumann ; " The Welding of the Sword," (Siegfried), Wagner ; Symphonic
A remarkable event for the hall is the engagement of the youthful Poem, "Orpheus," Liszt ; Chorus of Dervishes, Turkish March, March and
violinist Maurice Dengrernont for a series of concerts commencing on Sat- Chorus, " Ruins of Athens," Beethoven.
urday, the 8th. The young artist has earned a high reputation in Europe, in
In the rendering of the highly characteristic and brilliant Handel Ode,
every place where he has performed.
much general excellence was displayed. Miss Beebe took the soprano solos,
and her flexible voice, finished style and accuracy, fitted her well for the
GERMANIA THEATRE.
exacting task. In her aria, "What passion cannot music raise," she was
beautifully accompanied by the 'cello played by Mr. F. Bergner. The tenor,
DER RATTENFAENGEB VON HAMELN.
OR two months a new operetta, by the manager of the Germania Mr. W. C. Tower, had a quaintly descriptive solo, "The trumpet's loud
Theatre, Mr. Adolph Neuendorf!', was underlined on the bills of that clangor," and two Recitatives which he sang in a pleasing manner, and this
establishment, and on Tuesday, Dec. 14th, the first performance of this long- music seemed better adapted to his powers than any in which we had heard
looked for musical event took place. We have not many writers in this him. The work received added interest from the fact that it promised
country who are capable of giving us an operetta which may be enjoyed opportunity for the debut of the new Brooklyn chorus, under direction of
without alloy. Mr. Dudley Buck tried the experiment and failed; Mr. Mr. Thomas, which may be said to have been a quite successful one. The
Kerker was unlucky with his " Cadets," and even if we have not to record soprano particularly, is of a beautiful quality, fresh and clear, and the
direct failures, we cannot mention any instance of a real popular success. work of the chorus was tasteful, precise, and 'thoroughly musical. The
Mr. Neuendorff, always bold in enterprises, has entered the arena, and if he finale, in which the soprano and chorus alternate, the soprano singing
did not make an impression in accord with expectations, the reason was a phrase which is then taken up by the chorus, ends with a fugue for the
simply that the new work is not a comic opera, nor an operetta, it is lyric chorus, "The dead shall live," which gave it a brilliant opportunity for
in all ita points, and would create a musical success, if produced with artists the display of its abilities, and brought the work to a bright and interesting
who can claim to have voices fit for an opera. But Neuendorff had to work close.
In the Schumann Symphony, which was most delightfully and genially
•with the material at his disposal, and so it happened that many of the most
interpreted, the charming quality of the string tone was particularly notice-
interesting numbers fell flat on the audience.
The role of the Rat-Catcher not only demands a ringing baritone, but able in the last two movements.
In the "Welding of the Sword," the soloists seemed much more at
takes a singer who vocalizes well and has a throat of iron. Mr. Merten, an
excellent actor, did his best to sing with vei've and expression, and was in home in their parts, tho' Mr. W. C. Tower often appears injudicious in the
dramatic moments brilliant. Mile. Januschoffski repeatedly sang flat, but management of his voice, and the general effect of this selection was an
on the whole she made a favorable impression, and was applauded on extremely inspiring one, with which Liszt's "Orpheus " contrasted finely in its
account of her fresh voice. Mr. Steinbuch, the baritone of German choral plaintive, poetic tone. The chorus appeared once more in the Beethoven
H. D.
societies, who sang with Campanini in the selection from the " Goetterdsem- music, and confirmed the good impresssion it had made.
merung " at the Philharmonic Society last winter, was cast for the role of
the Mayor of the town of Hameln. In the hands of a good actor the role
STEINWAY HALL.
could be made interesting. Mr. Steinbuch cannot be expected to under-
THE JOSEFFY-THOMAS CONCERTS.
stand stage routine. The chorus was vigorous and in tune, and the orches-
tra, although somewhat noisy for the small dimensions of the theatre, did its r p H E four Joseffy-Thomas concerts given at Steinway Hall, on the 14th
duty under the energetic handling of the composer. If Mr. Neuendorff X. 16th, 18th and 21st of Dec. respectively, may be considered as among r
would make a change in the violoncello, he would deserve the thanks of the the
most successful musical events of the season. The splendid condition of
musical part of his patrons.
the orchestra from long-continued ensemble playing, Mr. Thomas' excellent
taste and judgment in the choice and arrangement of the programmes and
BIJOU OPERA HOUSE.
the rarely perfect technique, the refinement and brilliancy of Mr. Joseffy's
"OLIVETTE."
performance, conspired together to form a thoroughly enjoyable whole, a
ri^HE Comley-Barton Company recently brought out a new opera—" Oli- combination of exceptional merit and attractiveness. And, in spite of the
JL vette." The version used by this company is that which D'Oyly many demands upon time and attention exacted by the approaching holiday
Carte gave in London; hence the sore feelings of this English manager that season, each performance enjoyed the attendance of a large and interested
Mr. J. C. Duff is bold enough to venture before the American public with audience, who received Mr. Thomas and the popular young pianist with the
another adaptation. Mr. Carte seems to forget that he does not hold any utmost warmth and the strongest marks of appreciation and delight.
copyright, and that Mr. Duff is perfectly entitled to attend to his own busi-
The first concert opened with Mozart's G minor Symphony, one of the
ness without reference to any other theatrical speculation. These English most individual of this master's symphonies, and full of beauties of melody
managers are always ready to address the public in " a card," to get some distributed with a charming grace and simplicity among the various instru-
cheap notoriety; but that sort of advertising has nearly played out, and the ments. This work was reproduced in a perfectly fascinating manner, and
public does not care two straws about managerial fights and quarrels. The formed a genial introduction to the varied array of compositions to be
opera, " Olivette," had a good success—not because D'Oyly Carte's version offered in this series of concerts. Mr. Joseffy, who made his debut, in Steinway
was used, but for three other reasons: the plot is good, the music is catching, Hall, on this occasion, played Beethoven's " Emperor" Concerto, Fantasia
and the performance is neat—three items Mr. Carte is thoroughly ignorant on " Ruins of Athens," Beethoven-Liszt; besides a " Passepied " from suite in
of. The libretto is by Messieurs Chivot and Duru; Andran furnished the E minor, Bach ; " Cantique d'amour," Liszt ; and his own new Valses " Sou-
music. The plot is that of a comedy, and of amusing character; it is venir d'Ainerique." The intrepretation of the Concerto was an excellent
remarkably clean for a French piece, and does not indulge in vulgarities one, reverential in conception, artistic and unexaggerated in style and
and double enteadres, which seems to be the spirit of modern French comic expression, and with its brilliant passages executed with wonderful accuracy
opera.
and finish. The first two movements and particulary the poetic turn of the
The adaptation which Mr. Carte claims as his exclusive property is by Adagio were most satisfactorily reproduced. Mr. Joseffy's even and thorough
H. B. Farnie, and is humorous and interesting. The dialogue is witty and lec'cnique made a perfect gem of the " Passepied ;" his own Valses exhibited
MUSICAL PERFORMANCES,
F