Music Trade Review

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THE
mm
Taking it all in all it was a long and in- of New York since Theodore Thomas con-
teresting season. It was especially notable ducted his fine band at the old Central Park
for the frequency of the performance of the garden will watch the course of events this
works of Verdi, which gave a distinctly old- summer with some interest.
Conditions are far different now from the
fashioned Italian flavor to the winter. Here
early
seventies. Then, big, well-appointed
is
a
list
which
shows
the
number
of
per-
ARTISTS 1 DEPARTMENT.
formances enjoyed by each of the compos- music halls or roof gardens were undreamed
TELEPHONE NUMBER. 1745—EIGHTEENTH STREET
ers represented in the list: Wagner, twenty- of in New York. The word "vaudeville"
The Artists' Department of The Review is seven ; Verdi, twenty-one; Gounod, nine; had not been imported and distorted, and the
published on the first Saturday of each month. Meyerbeer, eight; Puccini, seven; Donizetti, variety shows, though plentiful, were not of
seven; Leoncavallo, six; Mozart, four; Bi- the sort to attract a gay crowd of sophisti-
"THE DREAM OF GERONTIUS."
DERHAPS it was never the dream of El- zet, three; Rossini, three; Mancinelli, two; cated people. There was, to be sure, a sort
of musical awakening, in which the influence
*• gar to rise with one swoop to the high- Miss Smyth, two; Mascagni, one.
of Mr. Thomas had been felt, but the au-
As
usual,
Wagner
led
the
procession,
but
est pinnacle of glory as composer. But that
tumn and winter months were not over-
the
Verdi
revival
was
one
of
no
small
propor-
he has done so seems to be the general con-
crowded
with good music as they are now.
tions,
and
it
attracted
to
the
opera
house
sensus of opinion after hearing the "Dream
So
that
the
comparatively few who really
hundreds
of
persons
who
always
stay
at
of Gerontius," which poem of Cardinal New-
appreciated
Raff's
"Lenore" and "Im Walde"
home
when
the
name
of
Wagner
appears
man's was set to music by the English com-
symphonies,
Asger
Hamerick's "Scandina-
on
the
bills
and
therefore
never
find
out
poser, Edward Elgar.
vian
Suite,"
the
Brahms
Hungarian dances,
whether
they
would
like
his
peculiar
works
The poem is essentially Roman Catholic
Beethoven
and
Wagner,
were
not surfeited
or
not.
Gounod
came
in
for
a
tolerable
and carries with it the stamp of inspiration
before
the
summer
came,
while
the others
share
of
recognition,
considering
the
fact
which is not found among the writers in
helped
to
crowd
the
various
backyards
and
that
he
has
only
two
works
to
sustain
his
secular life. It is not new that the true re-
sheds
which
formed
the
"garden,"
because
reputation
and
that
in
both
of
these
people
ligious spirit has done more for art than has
any other influence, and of all religions the were forced to listen to the extraordinary the beer was good, and there were no roof
most likely to awaken dramatic fervor is chortlings of Albert Alvarez. It is a matter gardens or well-ventilated music halls where
for felicitation that the new director of the they could play popular songs of the day
the Catholic religion.
and see skirt dancing, mirror dancing, and
Elgar is a Catholic, who played the organ fortunes of opera in this town will send that
other novelties. Things have changed now.
estimable
person
back
to
the
grand
opera
of
of the St. George's Roman Catholic Church
The musical season of New York is long
Paris,
for
which
he
is
well
suited.
He
will
at Worcester, and his keen sympathy with
and full, and in the hot weather there is plen-
the poem of Cardinal Newman is not diffi- not do here.
The number of performances of Meyer- ty of light diversions. People have changed,
cult to understand.
too—perhaps not for the better, though that
The merits of the composition, however beer in the list was due chiefly to the pres-
is doubtful.
great they are from the musical standpoint, ence of Mr. Alvarez. Mr. Henderson is
are still inconsequential in the presence of authority for the statement that that tenor
THE SALARIES OF SOME GREAT SINGERS.
the true emotion and the spiritual element had a castiron contract requiring the impre- T N view of the contract made with Mme.
which is soul-stirring and noble. The Ora- sario to furnish him with a certain number A Patti, who will be paid $5,000 for each
torio Society, under the very able direction of appearances each month at an absurd concert during her tour of this country next
of Frank Damrosch, gave a remarkable pres- price, and in order to force these appear- fall, it is interesting to note that when Cata-
entation of the work. More flawless chorus ances into the season "Le Prophete" had to lani first went to London in 1806, she bar-
singing has certainly never been heard in be given several times, because Mr. Alvarez gained for $10,000 for a season of ten
sang the title role. If it had not been for
New York.
months at the King's Theatre, in the Hay-
this
we should have been mercifully shared
The solo parts were assumed by Ada
market, together with $500 "to defray the
Crossley, David Bispham and Ellison van this lugubrious lyric spectacle.
expenses of her journey to London, and also
Puccini is well represented in the series, one benefit night free of expense." But
Hoose, who had the extreme difficulty of
owing
to the ambitions of Mmes. Sembrich Catalani ended in receiving much more than
the entire work and he sang it admirably.
and
Eames
to sing new parts. The former that. The total amount got by her from the
No man who is not thoroughly a musician
added
nothing
to her fame by her Mimi in theatre in 1807, including benefits, was $25,
could have attempted it.
"La
Boheme,"
though
she certainly did her- 000, and her net profits that year, with con-
It seems too bad to lay the work away for
self
no
harm
by
her
sympathetic
interpreta- certs, were $83,500. Alboni had $10,000 for
the season. Another presentation, no mat-
tion,
but
the
latter
manifestly
injured
her one season; and when Sontag reappeared in
ter how soon, would again fill Carnegie Hall
artistic
standing
and
her
physical
condition
to overflowing.
London in 1849, she had $5,000 a month for
by trying to wrestle with the dramatic and six months. On June 21, 1833, Mme. Mali-
j*
psychic problems of "Tosca." Donizetti lives bran wrote to her manager:
THE RECORD AT THE OPERA HOUSE.
OTATISTICS are usually dry reading, through the incomparable witchery of Mme.
"Dear Mr. Bunn:—Pressed for time as I
**-* but we cannot get along without them. Sembrich in the two comic operas heard in am, having but a few days to remain in Lon-
They are helpful, however—when speaking the season, "La Fille du Regiment" and don, I would willingly accept your offer to
of the season just closed at the Metropoli- "Don Pasquale." The prevalence of Leon- play the 'Sonnambula' in English for one
tan Opera House—in giving us an idea of cavallo is due to the convenience of his "Pa- night, but on the terms of $1,250, payable
the number of operas offered for the delec- gliacci" for doubling with other works. It on the morning of the representation. Yes
tation of the public in this the final season should also be noted that in this work Mr. or no at once, if you please.
of Mr. Grau's management. From those Alvarez was very well placed, while Miss
"M. F. Malibran."
who have investigated we learn that the total Scheff touched in it the top of her flight
Considering
that
her
charge for singing
number of operas offered the public amount- toward seriousness.
at private concerts in London in 1829 was
ed to thirty-two, and the entire number of
only $125, and that Bunn had engaged her
performances in the season, including the
SUMMER CONCERTS, PAST AND PRESENT.
soon after this for nineteen nights at $625
Saturday night series and the extra nights, ""P HE intention of Duss, the band leader of per night, payable in advance, Mme. Mali-
was ninety-one. The coupling of "Pagliacci"
* Economy, Pa., to give a series of sum- bran seems to have estimated her rise in
with "La Fille du Regiment" and of "Der mer concerts at Madison Square Garden, popularity at a tolerably high figure. By
Wald" and "Cavalleria Rusticana" with brings to mind the failure of Anton Seidl 1838 she was able to command such terms
other operas makes the addition of the num- and his great orchestra to popularize sim- that for twenty-four appearances at the opera
ber of performances one hundred, which ilar concerts at the Metropolitan Opera in May and June of that year she was paid
merely appears to conflict with this state- House some seven or more years ago. Those $15,000. Malibran was, however, generous
ment.
who are familiar with the musical history enough, while still being exacting with the