Music Trade Review

December 5th, 1SS0.
THE MUSICAL CRITIC AND TRADE REVIEW.
MUSICAL PERFORMANCES.
to be proud of it. He may have followed Goethe very closely, but'dis-
regarded entirely the effects of the operatic stage. And in musical regard
he acted likewise. He capped nearly every climax by an anti-climax, and
robbed the few passionate phrases of their brilliancy by an unnatural longing
ITALIAN OPERA.
to avoid conventionalities. It is sometimes painful to see how he tries to
BOITO'S " MEFISTOFELE."
kill his dramatic effects, and studiously strives to avoid the traditional
Only on one occasion, in
HE deed is done; the great Italian way of finishing a concerted piece.
event belongs to history. the garden scene, he remains true to the Italian style of writing, but follows
Mr. Mapleson has at last redeemed so closely the track laid by his great countryman, Verdi, in the Rigoletto
one of his numerous promises. Quartette, that one may be tempted to call it, if not plagiarism, imitation.
The opera, " Mefistofele," by
The orchestration of the opera is rich, but lacks coloring, in spite of the
Boito, was performed for the first instrumental brilliancy. The choral part of the opera is beyoud dispute the
time in New York, on Wednesday, most successful accomplishment of the composer. The prologue is not only
Nov. 24. We were promised the grandly conceived, but it is so skillfully and elaborately treated, that this
work last season, not only by part alone should be used as a number in a programme of symphonic charac-
Mapleson, but by Strakosch, ter. It really would be in its place in any concert, devoted to the highest
too. Max Strakosch last year en- j kind of music. The chorus in the ' ' Witches' Sabbath " is good in conception,
gaged a company with special re- and well written; but it is too long, and grows tiresome on the stage, while it
gard to the cast of Boito's opera. would be appreciated in a concert-room.
Mile. Therese Singer was to be
The opera made a success in London. We suppose the English people
the Marguerite, and Monsieur Cas- considered it a revelation, because they did not understand it. In Germany
telmary, the representative of the opera will be received favorably, because the Germans will feel a certain
Mephisto. While the troupe was degree of pride that the Italian Boito has adopted the style of their own
traveling south, the work was put writers; besides, German musicians will and must take interest in the work,
in rehearsal—and two acts were and so should every musician on the globe. The positive value of ' ' Mefis-
tried in New Orleans, so that the tofele " may not be so very great, but it may be considered a stepping-stone
whole of it should be ready for towards creating a new school of operatic writing, the fruits of which can
the first performance in New York. only be gathered by coming generations. Time may come when people will
But Mile. Singer only sang once say that they want the juste milieu, Rossini, Donizetti, and Bellini on one
here, and fell sick; and shortly afterwards the Strakosch season gave up the side, and Wagner and Boito on the other side ; and with this view we hail the
ghost. Mapleson then tried to bring the work out, and began negotiations appearance of "Mefistofele." No harm is done by honest musical works,
with Castelmary with that view ; but these negotiations did not lead to any which have no great attractive powers, but will help to build up a bright
satisfactory result, and the whole idea was then given up. This winter the future. The opera by Boito is a sign of progress, and every step in this
name of the opera was on the prospectus of both Mapleson's and Strakosch's direction should be duly recorded and appreciated.
companies, but our American manager was too quick for his English rival,
Our public received the work rather coldly, or, we may better say, they
and came out in Boston with the English version on Nov. 18th, while Ma-
showed their appreciation by reverential silence. They seemed shocked by
pleson followed with the original here a week later.
the strangeness of the style; and as the subscribers have been fed with light
The operatic arrangement of Goethe's tragedy has given a great deal of food since the beginning of the season, the uneasiness of the audience at the
trouble to its authors. When Gounod's "Faust "was on the eve of its first first performance of the new work seems natural. The mien of the audience
performance in Germany, some learned man full of esthetics, in South Ger- expressed astonishment, and almost every sign of approval was missed, ex-
many, declared it publicly an outrage against the sacred memory of Goethe; cept what ushers, door-keepers, and friends of the management, in kindness
and consequently the opera, in its German version, was called " Margarethe," and duty performed. If the London audiences raved about " Mefistofele,"
or, later on, " Faust and Margarethe." Boito intended his work to be called we must not forget the splendid cast the performances at Her Majesty's
"Faust," but afterwards, when Gounod's opera came to Italy, changed it to theatre enjoyed. There are only three principal roles in the opera. If we
the present title, in order not to clash with his French confrere; and to avoid compare the casts in two cities—
confusion, Gounod's opera should be called everywhere, "Marguerite," for
LONDON.
NEW YOKE.
the girl is the really sympathetic character and the all absorbing figure of
Faust,
Campanini,
Oampanini,
the work, while Faust is nothing but an uninteresting fellow, who is of use
Mephistopheles, Nannetti,
Novara,
on account of his being gifted with a tenor voice. In Boito's opera the
Marguerite,
Christine Nilsson, Valleria,
character of Faust is the important impersonation, while Mephistopheles we see at once the enormous difference, and we can understand that a strong
stands remarkably in the background, although he is continually on the representative of Marguerite could establish the success of the opera. The
Btage. But whatever reasons may have led Signor Boito to change the character is not only important; and although the composer did not devote to
original title, we have to accept the opera now as "Mefistofele." After having this role a large space in his work, it can be made the chief attraction. But
heard the opera, we feel inclined to use the words of Satan, when entering to accomplish this feat, it takes not only a singer of remarkable talent and
the laboratory of Faust: " What a hubbub ! " Why did they make so much vocal powers, but an actress, who is far beyond the conventionalities of the
noise about this opera, as if the new musical Messiah had deigned to come operatic stage. Nilsson can satisfy the demands of an audience, and Mile.
upon earth to deliver us from further evil ? London and Italian papers
Valleria cannot. The garden scene is the only
Bpoke about Boito in glowing terms ; but if we are to judge him from this
part of the opera where Mile. Valleria seems to
opera alone, we must say, that we have to deal with an enormous talent,
be at her ease. She is sweet and charming, and,
•which, however, is unripe, crude and unfinished. We must not forget that
we are sure, would meet with the approval of
"Mefistofele" was written nearly twenty years ago, when the composer
the composer himself. As soon as that scene has
was very young, and had not quite forgotten the rules of his "Professor in
passed, Mile. Valleria is utterly unfit for the role;
Harmony and Counterpoint." Everything breathes the atmosphere of the
neither has she the voice for it, nor the ability of
higher classes in a college of music ; and if harmonic progressions and clever
acting it. The prison scene is tame, and shows
modulations could form an opera, "Mefistofele " would really be a master-
the limits of her organ; and the character of
work. We cannot reproach Boito for having written this opera so long ago;
Helena, in the second part of the opera, needs a
we have to complain^that we have received it but now. If the opera had
poetical conception, if any impression on the
made its way in the world soon after it was written, we do not doubt that
public is possible. Mile. Valleria gave evidence
Boito would have written other operas with riper understanding and broader
that she had no conception at all, and sang the
views, and made his theories clearer and more precise. That an Italian, in
air, treating the destruction of Troy, with an
18G2, could write in this style, so utterly non-Italian, is remarkable. It is
equanimity which made the whole scene appear
said that he studied four years in Leipsic, and we should not wonder if it
insignificant. Valleria is used by Mr. Mapleson
were so. German influence is felt throughout the work, and the disciple of
for all possible and impossible roles, and we re-
Richard Wagner is easily to be recognized. If the process of amalgamation
gret to see this amiable and conscientious singer
of the German theories and his own characteristics as an Italian had taken
follow a path, which finally must ruin her voice
place before Boito wrote the opera, we might have received a work really
and end prematurely an honorable career, which
significant of influence for coming generations. As is generally the case could last for many years longer, if the voice were not under continual strain
with young people, they swallow enthusiastically theories foreign to their • and over-exertion.
•%&** vV
character, foreign to their previous education, foreign to their atmosphere ; i
S i g n o r N o v a r a w a s t h e Mephistopheles.
H e is a n a c t o r w i t h a g o o d d e a l
but they cannot so quickly digest them.
Boito, the Italian, with his
"Mefistofele" made a stir in the world, because nobody ever thought of stage experience, which makes up somewhat for the quality of his voice.
an Italian capable of disowning the rules and traditions of his own country, Unfortunately, this quality is so very poor, that the musical part of the role
The characteristic song, describing the frailty of the
and becoming a foreigner in manner and style. If he were a German, every- is entirely lost.
body would consider this style a matter of course ; and consequently the world, was a failure, and a singer with a good voice could make it very
work never could have made a hit, nor created an excitement. Only things effective. His recitatives were well intended, and nevertheless poorly given.
contrary to general rules and expectations induce the public to show any Towards the end of the opera his voice, not even in its best moments
interest, and so it happened that Boito received a good deal of attention, glorious, grew husky and disagreeable.
The only person in the cast who shone in bright
which made a career for his " Mefistofele," which will continue for some
splendor, and stood far above the other artists,
more years. How long Boito will remain on the operatic stage, can only be '
was Signor Campanini, in the role of Faust, He
decided when other works more clearly define his position and standard. '
did not seem in excellent voice on the first night
As we see him in the opera we are speaking of he reminds us of a cat which
of the opera, and had on several occasions to be
has borrowed the claws in order to make the appearance of a tiger; but
very careful with the emission of his tones ; but*
nevertheless has remained a cat. Signor Eialp, formerly with Mapleson,
apart from slight flaws in musical regard, his
said in the lobby of the Academy of Music, that "Mefistofele " gave him the
conception of the role was one of the best things
impression of a child, that wanted to walk on four legs, and each pair was
we ever have seen from any tenor on the stage.
an impediment to the other. There is a great deal of truth in it, but we
We did not see a tenor ; we saw the German Doc-
rather think that Boito moved on stilts, and had to be careful not to lose
tor Faust, when he entered the stage in the first
his balance. We missed the spontaneity of ideas and the melodic treasure,
act, with his famulus Wagner. The pictures of
which every Italian of moderate talent is a gifted with. Everything appears
the old German philosopher, with the long,
made expressly for the occasion, and is heavy and very often ill-fitting. His
grizzly beard, are well known ; and Campanini
melodic invention is of so limited power that he has to take from others; and
looked exactly as if he were the original of these
we find a pretty good collection of reminiscences in the opera. The libretto
pictures. The love scene, and the scene in the
is by the composer himself, and we do not think that he has particular reason
prison, are known; he acts them in the same
T