Music Trade Review

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THE
CRITIC AND TRADE
REVIEW.
372 Music Trade Review
YON BULOW'S PROTEST-—Von Biilow has written
an article in the AUgemeine Deutsche Musik Zeitung,
in which he protests against the " fungus like
growth of conservatories of music, which during
the last fifteen years have shot up all over Ger-
many." He avers that these institutions have pro-
duced conceited composers and many pianists who
subsequently become failures, and then join the
army of piano teachers. Von Biilow hit the nail
on the head in this article. There are hundreds
of graduates turned out every year that imagine
themselves to be great musicians, and yet we
never hear of them after graduation.
they whispered the pp notes, spoke the mf notes,
and screamed the ff notes.
This is one of the reasons why so many excellent
points in operas and operettes are totally lost.
Inferior parts are treated in an inferior manner,
but out of all proportion to the intentions of the
composers.
I was agreeably surprised with Laura Joyce's
rendition of Lady Jane. Her voice, singing, act-
ing, and tasteful and correct appearance, with
the many original points she brings out through-
out the piece, make her one of the attractive per-
sonages on the Bijou stage.
To my surprise, I found young Charles Wernig
directing the performance. I remember Charley
when he was young enough to be called Charley
by strangers, and I still adhere to the name on the
ground of old acquaintance.
He was always close student and tried to push
ahead.
I am delighted to see that at last he conducts,
and if he will add some energy and care to the
minor points to his work in the conductor's chair,
he will be sure to get ahead in this world of music.
* *
There being very little to do outside of the city,
nearly all the managers and agents can be found
in the evening at the opera houses.
Edgar Strakosch is about considerably, with his
ears and eyes open, watching everything, and
talking about musical matters with the confidence
of a veteran.
There is a big future for this young manager in
store.
His name is known better than that of any mu-
sical manager in the country, having been identi-
fied, through his uncles, Maurice and Max, with
some of the greatest musical events we have ever
had on this side of the Atlantic, and if he goes
along with caution and the exercise of discretion,
there is no reason why he should not succeed.
Some of the mistakes made by the elder Stra-
kosches will also be of value to him, as he knows
their causes, and he can avoid them in his own
undertakings.
I do not know whether he is going to start out
on his own account, but he should try anyhow.
"VTEVER was I more surprised than on my first
J L \ visit to Koster & Bial's Concert Hall the
FTER much preliminary announcement, and other evening to hear the Hungarian Band play.
evidently after much rehearsing, Strauss's
merry opera was produced at the Germania Thea- It was not the style, nor the rhythmic changes,
tre on June 27. It was supposed that a cast had nor the peculiar phrasing of the music that sur-
been carefully selected, but subsequent events prised me—it was the tone, the absolute tone-vol-
proved that much room for improvement was lett. ume which these natural musicians produced.
The cast was the following:
I could not at first believe that fourteen players,
Violetta,
Miss Dora Wiley
Umberto Spinola, .
. . Mr. W. T. Carleton performing only on strings and a few wooden wind
Artemesia,
Miss Belle Cole instruments, could produce a volume of tone equal
Marquis Filippo Sabastiana, . Mr. Eichard Golding to that of at least thirty ordinary performers; but
Balthassar Groot,
Mr. Adolfl
Elsa,
Miss Louise Paullin it was nevertheless so.
The reputation which the opera gained during These Hungarians are naturally gifted with in-
the Thalia "run" made it probable that the ven- tense and passionate musical feeling, and when
ture in English would pay, and there is no doubt they perform, either individually or in a body,
that if as much attention had been paid to the these peculiarities are the first that attract our at-
selection of soloists as was paid to ensemble, chorus tention.
and orchestra especially, and to scenic effects, that
a very enjoyable performance would have taken One does not care much for merely technical
place.
playing, or a strict traditional interpretation
The deficiencies of the soloists were confined to of musical compositions that are familiar to us,
three roles especially—-Miss Dora Wiley as Violetlat while listening to the interpretation which these
Mr. W. T. Carleton as Umberto, and Mr. Richard
Golding as the Marquis. The trouble with Miss people give to the same.
Wiley was the absence of tone in her singing; she A peculiar charm pervades their playing, and all
could not be heard, except in a few forzando pas- the liberty they take with such an overture, for
sages, beyond the first dozen benches from the instance, as Rossini's "William Tell," is excused,
stage. Whether this was due to her uncer-
tainty in reference to the score or text, or not, we because their own interpretation has the spice of
cannot say, but we remember many occasions originality.
when this lady sang more difficult music more We cannot criticise them from the ordinary
effectively and much better than she sang in the
"Merry War," and we are compelled to attribute point of view. They are entirely outside of it.
The performance pleased me so much that
her deficiency this time to a temporary cause.
Mr. Carleton is always greatly lacking in one I determined to hear them as often as I possibly
respect, without which no song, especially in Eng- could.
lish opera, can be made a success,—and that is,
enunciation. We never know what he is singing,
whether it is the text of Grosvenor, or Claude
* *
Duval, or Pippo; and he might, for all practical The trouble with me is, that I have not the time,
purposes, sing the words of most any song, for there being so many musical performances which
Young Grau, who is now the advance agent of
not one phrase is thoroughly enunciated.
I must necessarily attend, although I often wish I the Carreno Concert Company, is an active young
He is an excellent baritone singer, especially in
fellow. He understands the business and is will-
roles with which he has lately identified himself, were not compelled to do so.
and his singing often contributes much to the suc- The other evening at the Bijou Opera House I ing to learn. He is another one of those who can
cess of a night's performance; but he must learn made it a point to observe closely how the young make a success as a manager if he keeps cool and
how to enunciate—how to make his text clear—and ladies sang, especially those singing secondary collected.
also get rid of stiffness in the joints—to make an roles.
If they have a little talk every day for an hour
unequivocal success.
Mr. Richard Golden is a successful low come- Everybody, of course, listens to those singers or so with Alfred Joell, he can give them a history
dian, without any voice or musical accomplish- that fill the chief roles, but the girls that sing, for of a quarter of a century in the managerial busi-
ment. His abilities in his legitimate line made instance, Lady Angela, Lady Saphir, and Lady Ella, ness.
him an attractive Rocco, in the "Mascotte." in "Patience," are passed by with only a "group- A better posted manager than he is cannot be
How he could have aspired to a role in which
found in this country, and as he has always been
music and a higher grade of comedy are the essen- ed" notice.
tial elements, we fail to understand, especially if
I am going to give them a "grouped" notice an observer, he has gathered stores of knowledge
he ever looked at his musical score, which we myself now, because each of the three is afflicted and practical information on the subject.
doubt. It does not follow that a successful Rocco, with the same trouble.
Managing concerts or operas is an art in itself,
who must not necessarily sing, can consequently
become a successful Marquis in the "Merry War," Not one of them understood how to breathe in and a most difficult one to attain.
who has much and at times difficult passages to singing—the very first law in vocalism was an There are intricate and delicate knots to unravel,
sing. The gist of the matter is that Mr. Golden unknown quality with them.
points to be made, peculiar language to be used
ruined one of the most attractive roles of the
Then I found that the knowledge of emitting in announcements and advertisements.
opera.
The chorus was excellent—the best we have ever sound from the mouth cavity was also unknown Judgment in reference to works, artists, the
manner of production, etc., is requisite, and if
heard in that class of opera. The orchestra, under to them.
the direction of the efficient and painstaking With these two deficiencies counteracting many one of these elements is missing, the risk of fail-
Catenhusen, demonstrated how much attention advantages, it would be impossible to sing cor- lure is imminent.
this part of an opera deserves, and how well it
Managers must exercise as much care as a vocal-
pays to make the orchestra that prominent feature rectly under any circumstances.
The mouths of two of the ladies were closed ist exercises to protect his voice.
which every composer now-a-days intends it to be.
The scenic effects were very elaborate and even in forte passages, and the positions of their And this reminds me that a rumor has been
effective, while the ballet added much to the heads and chests prevented a free passage of air gaining ground lately that Annie Louise Cary ham
evening's enjoyment. Miss Belle Cole as Arteme-
lost her voice.
sia, Miss Louise Paullin as Elsa, and especially through the throat.
Mr. Adolfi as Balthassar, were the successful so- All this would be bad enough, but I am sorry to It seems that the affliction is permanent, instead
loists.
say that their musical education must have been of a mere passing cold.
Had all of the soloists been as able as these three, sadly neglected when they did not evince the If the rumor is true, it will be a serious loss to
one of the most successful operette performances faintest idea of phrasing the different parts of the the art, especially in this country.
would have been recorded. With the improve-
The music festivals that took place last Spring
ments this review suggests, the "Merry War" can song.
have a long "run."
To reduce it to a plain statement, I will say that felt the absence of Miss Cary's exquisite singing
"THE MERKY WAB."
A