Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
244
THE MUSICAL CRITIC AND TRADE REVIEW.
March 20th, 1882.
Beethoven's "Fidelio," a long expected and pected, and when singing a great aria Signor was incomplete, and, from a high art point of view,
anxiously looked-for opera, was produced on Campanini will break down suddenly, unless he very unsatisfactory.
March 10, introducing Mile. Dorani to the public. pays more attention to voice-retention than he has The difficulties that inc umbered the Philharmonic
Society, in producing the parts of this work, were
One of the reasons why Beethoven's great opera done in the past.
As to his sentimental Knight, we re-affirm what not amply repaid in the manner in which it was
is so rarely produced is, that there are but few
singers that will undertake the difficult role of we stated in the opening days of the fall season : received, and with a sigh of relief, mixed with
Fidelio; and another reason is, that there are few his interpretation is not Teutonic r not heroic enough pleasure, the scene (as it were) closed
The simplicity and grandeur of Beethoven's C
opportunities of finding a quartette that can do for the role.
Galassi, as Telramundo, gave adiditional evidences Minor Symphony, which followed the Wagner
complete justice to the concerted parts that must
be sung respectively by Fidelio, Pizzaro, Rocco and of the remarkable and beautiful quality of his number, contrasted strangely with the complex
voice, which is exactly adapted to the score. His nature and incoherency of its predecessors. Ap-
Florestan.
In every operatic performance the ensemble is a acting was superb, except in the first combat in the parently without the least effort does Beethoven
sine qua non, and it is therefore the case in Bee- first act, which both he and Campanini seemed to succeed in producing the most marvellous drama-
tic effects in his symphonic works. This No. 5
thoven's opera, especially as he has paid particular try their utmost to make ridiculous.
attention to a musical ensemble in the concerted Chorus and orchestra were only mediocre except is no exception. Built and constructed upon a
in a few isolated passages where the climax in- simple theme, it develops the same with perfect
parts.
Eaoh of the artists must be fully able to cope fused all participants with temporary inspiration. ease into the most passionate and dramatic musi-
cal episodes. Nothing is strained, nothing bela-
with the musical difficulties and also do justice to
bored, no endeavors to become scientific, and at
PHILHARMONIC CONCERT.
the rapidly developing dramatic episodes that ap-
pear throughout the work. Unless this is the case, n p H E fifth concert of the present season, which the same time the symphony is a seientific model,
"Fidelio" cannot be properly rendered; and as all X was given in the Academy of Music on a perfect work of art.
The concert was attended by a large and inter-
these requirements are difficult to fulfill, the opera March 11, must be recorded as extraordinary.
is a rarity, on our stage especially.
It consisted of Schumann's "Genoveva" over- ested andience which represented the most cultured
Colonel Mapleson must be credited with exhibit- ture, followed by parts of Wagner's "Rheingold," portion of our citizens.
ing the enterprise of presenting the opera after one of the subdivisions of the "Nibelungen Tetral-
PHILHARMONIC CLUB.
about a decade since its last production here; but ogy," of which a prelnde and scene, a fragment and
he must also be charged with remarkable oversight the grand closing scene were given, the concert
HE fifth concert of the New York Philhar-
in permitting a young lady in every respect un- closing with Beethoven's fifth symphony.
monic Club, which took place at Chickering
fitted for the role to make her debut in it, thus
The orchestra was increased to from one hundred Hall, on March 7, consisted of a varied and inter-
jeopardizing her own career and the success of the to about one hundred and twenty performers for esting programme. Bach's concerto in F major
opera, besides making a bad impression upon this occasion. It may have been due to this that for piano, two flutes, two violins, viola, violoncello
those auditors who had been taught that the work the "Genoveva" overture was not performed as and double bass, was played for the first time.
smoothly and evenly as we have heard it on former
is an exceptionally great creation.
Besides the artists comprising the club, other
Miss Dora Henninges's acquirements are, we un- occasions.
acquisitions were added, the octette consisting of
derstand, the result of Cincinnati College of Music
The anticipation of the coming number may also Mrs. Agnes Morgan, piano; Mr. Richard Arnold,
methods.
have affected the performers, as a herculean task violin; Mr. Reinhardt Richter, violin; Mr. Emil
She is said to represent the best example of what was to follow the overture, and the expectation of Gramm, viola; Mr. Charles Werner, violoncello;
has been done in that remarkable conservatory of it may have caused the audience to treat Schu- Mr. Emanuel Manoly, double bass; Mr. Eugene
music. We are not sorry for her, as there are no mann's overture with some indifference.
Weiner, flute; and Mr. F. Rietzel, flute.
evidences thus far that her abilities are greater
The parts of the "Rheingold" were first: "Pre-
Bach's concerto belongs to that class of musical
than those of ordinary vocal pupils, and she con- lude and Scene" (In the depths of the Rhine up to works which can only be appreciated by persons
sequently cannot do any better than she can do; beginning of Scene II., before Walhall; the three who have made music more than a superficial
but we are sorry for the reputation of the Cincin- Rhine daughters and Alberich; at the close, Wotan). study.
nati College of Music, that its faculty did not pos- Second: Fragment ( Loge's tidings). Third: Grand Even for an audience like that which patronizes
sess greater acumen, or even common sense, than closing scene (Wotan, Downer, Frith, Loge, and the Philharmonic Club Concerts, a Bach concerto
to let this young, inexperienced lady, whose vocal the three Rhine daughters.)
can only be occasionally produced. Evidences of
The three Rhine daughters are Woglinde, sung uneasiness and want of interest were too apparent
attainments are thus far very mediocre, and whose
study of rudimentary drainatio action has not yet by Miss Hattie Sehell; Wellgunde, sung by Miss not to convince us that the greater portion of the
enabled her to understand simple stage business— Amelia Wurmb, and Flosshilde, sung by Miss An- audience failed to enjoy or appreciate the ultra-
we say we are sorry for such a faculty, that it tonia Henne.
classical Bach concerto.
Alberich was sung by Mr. Oscar Steins, and
permitted her to display the simplicity of Audrey,
The concerto was performed with exactness and
Mr. Theodore Toedt and Mr. Franz Remmertz technical perfection, it being a clear and concise
and this in the sublime role of Fidelio.
" There could not have been one iota of veneration sang respectively the tenor and bass parts distrib- production of one of the most remarkable works of
for the great master's great work, on the part of uted among the remaining roles.
Bach.
these gentlemen, when they permitted it to b« so Wagner maintains that his effects are produced
Mrs. Morgan performed the piano part, and sub-
by a combination of elements, the first being the sequently Chopin's ballad in G minor. Outside
painfully parodied.
Signer Novara, who seemed to be acquainted orchestra; the second, the voices; and third, the of the poetic interpretation whicli Mrs. Morgan
with his score, did some of the best work of the scenery—all three must be equally perfect, other- gave to the ballad, and which was more satisfac-
evening, while Signor Ravelli achieved a decided wise no successful performance can take place.
tory than that of the majority of pianists who
It is well known that in his exceedingly con- play Chopin, her touch was sympathetic and the
artistic success in his rendition of the role of
scientious efforts to give any of the operas tone she produced was broad and powerful. She
Florestan.
To Signor Galassi must be awarded the compli- that now occupy his attention, Wagner devotes as played as an encore, Rubinstein's serenade, from
ment of having permeated the work with anima- much time upon scenic effects as he does upon the "Kameuoi Ostrow," being the opus 10, No. 22.
tion, and whenever he appeared he stimulated the orchestral effects or voice effects.
This number she performed charmingly.
It is hardly necessary to refer to more than the
singers, who seemed to have been demoralized by
The quartette of the evening was Haydn's varia-
special plans that necessitated the construction of tions on the well-knpwn air, "God Save the Em-
the shocking demonstrations of the evening.
a
theatre
to
produce
this
very
'
Nibelungen's
Ring."
This "Fidelio" performance must be marked as
peror, Franz." There are no special difficulties
It is therefore questionable whether any frag- in this quartette, especially for players that have
one of that disastrous kind of performances which
mentary production taken from any of his operas been familiar with quartette from youth.
now and then comes to our lot.
At the matinee of March 11 "Carmen" was given can be thoroughly successful, unless the three con-
An interesting performance was a new Septette,
ditions mentioned are complied with.
with the usual cast to a large house.
composed by Dr. F. L. Ritter and dedicated to the
As a study, or introduction of Wagnerian ideas, Philharmonic Club. It is written for two violins,
"Lohengrin," which was produced on March 13,
also attracted a large audience which was more in- the performance by the Philharmonic and its ac- a viola, a violoncello, a double bass, flute and
terested in the work than any we have ever no- cessories deserves praise, but it is questionable if French horn, Mr. C. Pieper performing the part
any real good has been accomplished, or if any art for the horn.
ticed within the walls of the Academy.
Minnie Hauk acted Elsa with great care in fol- interest has been subserved by the production of
There is nothing original in' the Septette, either
these numbers under the circumstances.
lowing the traditional rules of Herr Wagner.
in motives or instrumental treatment, although it
The orchestra did the duty that devolved upon shows thorough knowledge of the subject, and the
This one fault—a too rigid adherence to routine
—makes all of Miss Hauk's histrionic attempts it fully, but the voices were not adapted to Wag- score contains many pleasing phrases and even
futile, as her agony always repeats itself in the ner's epic music. This was an additional obstacle rare sequences.
same movements of the body and the same facile to a complete performance. It is also well-known
The performance of the Septette was uncertain
that Wagner, in the selection of his vocalists, keeps and hesitating, and the first violin was out of tune,
expressions.
She sings the role with scrupulous correctness, in view the quality or timbre of the voices as they which often produced a most distressing effect.
and depends entirely upon herself in every meas- are adapted to the particular score.
The sixth and last performance of the club
The vocalists were not specially adapted to the takes place on April 4. Two compositions by
ure of the opera. Her studies must have been
roles
they
had
to
assume,
and
the
only
one
who
severe, and for this reason alone her vocal efforts
Joseffy will be played. Also the Spohr Quintette
are to a certain extent rewarded with appreciation. approached the correct standard was Miss Henne. and Mendelssohn's Octette. Mr. Richard Hoffman
Taking therefore all the circumstances into con- is to be the soloist.
Her voice lacks equality of tone, and loses much
of its beauty by forcing the vocal chords too much sideration no complete performance could possibly
while sustaining a note. Notwithstanding these have taken place. A somewhat superficial idea
"CLAUDE DUVAL" AT THE STANDAB3).
few vocal defects, Miss Hauk is to-day one of the only could be formed of the colossal structure
which Wagner has created. There was also an op- '"T^HE new romantic opera, "Claude Duval," now
safest and most reliable Elsas on the stage.
Mile. Kalas was once upon a time an alto,and at portunity, which was as rare as it was beneficial, _L playing three nights a week at the Standard
the beginning of the season made quite a pleasing to learn some of the most original instrumental Theatre, ought to be a popular success.
The music is bright and merry, and the scenery
impression in this very role of Ortrude. The effects and combinations of Wagner, and the mas-
occasional breaks in the voice on the occasion terly manner in which he adapts tone-color to very pretty. The opera has several airs that will
we refer to make it apparent that she must rest for the expression of emotions and for descriptive soon be whistled about town, for they are very
purposes. The peculiarity of his declamatory "taking," as the phrase goes, and full of melody.
the present.
singing was brought to light more clearly than we It is admirably mounted, and the costumes of the
The same must be said regarding Signor Camp- have
heard it done before in this city.
pretty flower girls would move an anchorite.
anini. He is again repeating the error of last sea-
Mr. William T. Carleton has an excellent chance
All these things must be taken into consideration.
son, and singing entirely too much within a given
time. Wearing of the voice tells when least ex- Yet, notwithstanding all this, the performance to display the resources of his fine baritone voice.
T