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ETELKA GERSTER.

was sold at auction at high prices. The tide turned; but, nothing daunted, the society kept on its course, and soon regained its hold on that part of the public that had deserted it. To-day the Philharmonic Society is as popular as ever before, and the public rehearsals and concerts are at tended by a refined audience, who listen with hearty appreciation. The musical perceptions of thousands have thus been awakened, and the society has conquered in its long struggle for classical music.

Under the same conductor (Mr. Thomas), with nearly the same membership and repertory, the Brooklyn Philharmonic Society is a younger sister.

music was admirably suited to his virile bass.

A few bars at the beginning lead to the opening lines of Faust, who, wandering on the plains of Hungary, sings an ode to awakening spring, accompanied by soft vibrating strains of the orchestra. His meditations are interrupted by a chorus of peasants dancing to the sound of flutes, clarionets, and horns. Hardly has the chorus ended, when the sound of approaching troops is heard, and here Berlioz introduces the superb Racokczy March, scored with a brilliancy and variety possible only to him who has a supreme knowledge of the capabilities of each instrument, and a grasp firm enough to bind them into one harmonious whole.

Few orchestras could have rendered this with the accuracy and the fidelity to the composer's conception shown by the playing of the Symphony Society. The precision, vigor, and swing of the march as it rang through the house thrilled the audience, and, when ended, a repetition was demanded. While all hearts were beating fast and strong in sympathy with the glorious movement of the advancing soldiers, Faust's voice was heard crying out, in utter dejection: "All hearts are thrilled-they chant their battle's story;

My heart alone is cold-ay, dead to glory."

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The second part introduces one of those contrasts of gloom and sunshine in which Berlioz delighted. Faust, weary of existence, yearning and suffering; while from the neighboring church the glad triumphProbably the most important musical ant Easter hymn ascends peacefully to events of the past year in New York were heaven. Then Mephistopheles transports the production of Berlioz's Damnation of Faust to Auerbach's cellar in Leipsic, Faust, and Bach's Passion Music. The where students and soldiers are drinking former was presented February 14, 1880, and singing. A scene of mad jollity folfor the first time in America, to an audi- lows, during which Brander and Mephisence consisting in great part of musicians topheles respectively sing "The Song of and amateurs, that completely filled both the Rat" and "The Song of the Flea." the large and small Steinway Hall. Dr. The humor is ponderous, but both soloists Damrosch had the Symphony, the Orato- sang with great sonority and much artistrio, and the Arion societies under his di- ic feeling. Leaving the carousers, the rection, and led them through the intri- scene shifts to the banks of the Elbe, with cate mazes of the score with a master Faust asleep, dreaming of Marguerite. hand. The soloists were Miss Amy Sher- As the Racokczy March is the ideal of win (Marguerite), Mr. Jordan (Faust), soul-stirring martial music, so is the choMr. Remmertz (Mephistopheles), and Mr. rus of gnomes and sylphs the very ideal Bourne (Brander). Mr. Remmertz proved of dainty, fantastic harmony. Male and the most satisfactory of the soloists, as the female singers, the string and wind of the

orchestra, move in a perfect net-work of transparent rippling harmonies, part in three-four, the other in six-eight time, wonderfully blended into one delicate fairy-like composition. No wonder that when it is heard for the first time the hearer is surprised as by a new revelation.

The unhappy Marguerite, yielding to her fate, is condemned to die, but Faust, torn by anguish and remorse, extorts her freedom from Mephistopheles at the price of his own salvation. Having sold himself, Faust and the demon, mounted on their devilish steeds Vortex and Giaour, enter upon their ride to hell. Surrounded by Satanic demons, hounded on by the incantations of witches and imps, pursued by the curse of God and man, Faust's heart fails him, and he screams with horror as Mephistopheles taunts and sneers at him. Faster and faster their coursers rush madly through space, and with a hideous roar and blare plunge into the awful abyss of hell. Words fail to describe the titanic power with which this episode in the legend is treated by the composer. influence leaves the mind of the hearer in an agitated state that almost unfits him to appreciate the melody of the angelic chorus that is bearing Marguerite's soul to heaven. The harps and

Its

The Oratorio Society was not daunted by the time and labor necessary to produce a work of such length and technical difficulty and in so unaccustomed a style, but devoted many months to the study of Bach's Passion Music, and had it been given in Steinway Hall, its effect would have been better than as sung in St. George's Church, under the disadvantage of having orchestra and chorus divided.

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ITALO CAMPANINI.

strings accompany this closing chorus | And yet the associations of the sacred with celestial strains growing louder and louder, until Marguerite enters the abode of the pure and the blessed.

place added greatly to the spirit in which it was heard.

The great success of the Handel and Haydn festivals in Boston, and the May festivals in Cincinnati, has encouraged Dr. Damrosch in the belief that a like success is possible in New York. With a chorus of twelve hundred singers, an or

Such was the popularity of the Berlioz legend that six performances were given to densely thronged houses, and Boston, Chicago, and Philadelphia extended invitations for a repetition in those cities. For generations Bach had been esteem-chestra of two hundred and twenty-five ed "dry," and held up to admiration simply as a master of counterpoint, until Mendelssohn brought the Passion Music out of the obscurity into which it had fallen. Every year has witnessed a growing interest in Bach, and each perform ance of the Passion Music has drawn attention to his other works. The reaction from melodious jingle and meaningless harmony shown by the increasing study of Bach is one of the cheering signs of the times.

performers, Miss Cary, Mr. Georg Henschel, and other eminent soloists, it is proposed to give a series of performances at the Seventh Regiment Armory, which will seat ten thousand persons in addition to the performers. As the time approaches, the activity of preparation increases and the interest intensifies. The works decided upon are the Messiah, the Ninth Symphony, the Dettingen Te Deum, Rubinstein's Tower of Babel, and Berlioz's Grand Requiem.

ANNIE LOUISE CARY.

of the past season was Boito's Mefistofele.

The lovers of opera in New York must at all times have an idol to worship. Some old gentlemen yet alive can remember the glorious Malibran, who sang their hearts away in early days. A greater number will ever remain faithful to their remembrance of the wonderful Jenny Lind. The present occupant of that exalted throne before which the devotees of the opera and all lovers of song bow in admiration is that bright gem of modern song, Gerster, whose winning gentleness, grace, and dramatic power have charmed every listener.

Judging from the operas in which she has sung, Gerster's preferences are for parts of which the prevailing characteristics are florid passages. elaborately embellished. And

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York was as Elsa in Lohengrin-a part she surrounded with an atmosphere of tenderness, truth, and beauty. Owing to Gerster's absence during one year, the unusual sight was presented of a tenor and a barytone overshadowing the prime donne of a well-organized company.

Nearly two generations have elapsed | yet perhaps her greatest success in New since the Garcia troupe, containing the famous Malibran, first transplanted that brilliant exotic, the Italian opera, from Europe, and despite the many attempts, with varying success, that have been made to domicile it with us, only of late years does it appear to have taken deep root. The lyric drama did not die-the indica- The burden of that season was untions of weakness at times were merely doubtedly borne by Campanini, whom the transitory stages to a fresher and more the appreciative King of Italy has revigorous life. At present, thanks to the cently knighted, whose life has been full owners of the Academy of Music and the of strange vicissitudes. While still a lad, enterprise of Mr. Mapleson, stimulated by he served in Garibaldi's Army of Liberathe generous encouragement of the public, tion, and was wounded in the face durit has been established on a firm basis, and ing battle. From the heroic to the pracfor some years to come probably as good tical was but a step. Leaving the army, an ensemble as money and managerial skill he was apprenticed to a blacksmith, and can command will be secured. The cho- the hard work at the forge developed rus and ballet are good, the scenery and that robust health which to-day enables stage settings fresh, and the orchestra, him to bid defiance, in his chosen prounder the direction of Signor Arditi, is fession, to hoarseness and overexertion. superb. The names of Gerster, Cary, After some study, and two years of servValleria, Bellocca, Campanini, Galassi, ice with a travelling opera company, he and Del Puente awaken hosts of pleasant made his début as Faust at La Scala, and recollections. The chief fault found with three years afterward came to America the management is the poverty of the with Strakosch in the Nilsson company. repertory. A public that has encouraged During that engagement he appeared in representations of Aïda, Lohengrin, and the title rôle of Lohengrin, with Nilsson other works before they had been heard as Elsa. On this memorable occasion either in London or Paris, deserves some there was an outburst of enthusiasm on novelties each season. The only novelty the part of the public unparalleled, ex

cept in the case of Parepa, since the days of Jenny Lind, and equalled only by the success of Gerster in after-years.

Nature endowed Campanini with a strong, even, and sympathetic voice, and art has enabled him to greatly increase its compass, while imparting flexibility and brilliancy throughout its range. An ardent, painstaking student, he is to-day a living proof that good vocalism is worth all the time and labor it takes to acquire, for without it no voice could have borne the strain to which his has been subjected. In one season he sang in opera a hundred times, took part in numberless rehearsals, besides singing in the Stabat Mater seven times, and assisting at a number of concerts in Boston, New York, and Cincinnati. His acting is nearly as good as his singing, and the poorest singer in the cast feels his magnetic influence. But not only as an artist is he enviable: his genial, manly character has won him hosts of friends, who love the man as much as they admire the singer.

When it had been decided that Gerster would not appear, Mlle. Valleria, an American lady under an Italian name, was put forward, and the manner in which she sang the parts allotted to her gave general satisfaction. Another American, who sings under her own name, and is almost as well known throughout the Union as in New York city-Miss Annie Louise Cary-is probably the most popular contralto yet heard on the lyric stage in America, with the exception of the incomparable Alboni. After completing her studies in Germany with Madame Garcia, she accepted engagements in opera for two years, singing successfully in the chief cities of Northern Europe before returning to America. Since her début here in the year 1870, Miss Cary has gradually developed both as actor and singer, and her last appearances have been the best. In operas like La Favorita, in which the interest centres in the tenor and contralto, with two such capable artists as Cary and Campanini, few hearers would look upon opera as an irrational and unintellectual amuse

ment. The languid interest paid to scalesinging heroines and sentimental heroes gives place to an absorbed interest in both the music and the action.

The experience of impresarii during

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ARTHUR SEYMOUR SULLIVAN.

late years has convinced them that nothing is too good, too elaborate, or too costly for New York. Mediocrity has proved fatal. Those enterprises succeed best that treat the public in the most generous manner; that offer the best of their kind, that do thoroughly well whatever is done at all. The most costly opera company ever brought to our country, that of Strakosch with Nilsson, Campanini, and Capoul, was the most successful pecuniarily. And the results made public by Mr. Grau at the end of his season of French opéra bouffe confirm this opinion. In a little over a year he gave 452 performances, of which over 200 were in New York, and after paying great salaries to Capoul, Paola-Marie, Angele, and the other members of the company, a large sum remained for the manager.

The remarkable success of this company in New York, remembering the fact that when Grau's first announcement appeared, a kindred organization, the Aimee troupe, had just completed a successful season, is in a great measure due to the large French element in the city. Some

of the twenty-five operas produced were | groes, and others in every possible varievery popular, notably La Fille de Ma- ty. Probably to-day numbers of towns dame Angot, which was sung fifty-six and villages are enjoying the bright mutimes; Le Petit Duc, fifty-one times; Les sic and innocent fun of this operetta. Cloches de Corneville, forty-six; Madame Favart, thirty-seven; Girofle - Girofla, thirty-six; and Mignon, thirty-three.

The success of Pinafore brings to mind an old Dutch story of how a rat, in search of pleasure or profit, burrowed through one of the dikes that protected Holland from the angry sea. At first only a few drops of water trickled through. Then a little stream appeared, which, gradually growing larger and stronger, at last broke down the barrier, and a mighty flood of waters rushed in and submerged the land.

CLARA LOUISE KELLOGG.

The adventurous manager who first put Pinafore on the stage in Boston, and his compatriot who followed in New York, certainly never dreamed of the popularity that would attend their venture; but a success unparalleled in the history of the stage was the result. For over a year it seemed as though every theatre in the larger cities was engaged in that "charming nonsense Pinafore." And not content with these, the enthusiastic public supported innumerable performances by amateurs, church choirs, children, ne

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The authors received very little money directly from America, but were doubtless compensated in some degree by the effect in England of its popularity here. Taking advantage of the distinction drawn by our judges between printed and unprinted MSS., Messrs. Gilbert and Sullivan visited us with a new opera in their pockets, which in due time was presented to the public. In some respects superior to Pinafore, the Pirates of Penzance lacks the great advantage of novelty. The plot, the characters, the catches, seem

simply the Pinafore kaleidoscope shaken up a little. Ralph in Pinafore is Frederick in the Pirates, Josephine is Mabel, the Admiral is the General, Buttercup is Ruth, the sisters, cousins, and aunts are the General's daughters. The chief novelty is the policemen's chorus; for the General's funny patter song is the Sorcerer's song in a new dress. While arranging for new operas, it might be well to let the public hear the Sorcerer. If properly mounted, with a better orchestra and better soloists than those of the Pirates, it would be sure to win great approval.

The production of Pinafore marks a new era in the history of music in this country. To Messrs. Gilbert and Sullivan the utmost praise is due for the brilliant outlook of English opera in America. Thousands of the best people, fond of music, who had hitherto shunned the theatre, were induced to attend the per

formances during the Pinafore period, and were gratified to find nothing in the words or action to shock the most refined taste. Managers have not been slow to cater to the wants of this class, who wish their wives and daughters to participate in their amusements. A large number of companies have already been called into existence, and more are promised. Among the best of these are the Boston Ideals, the Emma Abbott, and the Strakosch companies. In addition to the large number of travelling companies, there are innumerable local societies scattered

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