Punch (90.1886)

June 12, 1886.]

PUNCH, OK THE LONDON CHARIVARI.

285

COMPARING NOTES.

The fifth Richter Concert was of a leas alluring' nature than usual.
Dear old Charles Halle, it is true, came forward once more as a
pianist, and played with all his old precision and delicacy the solo
part in the Beethoven Concerto. He got a warm reception; and
Madame Noehajt Neruda was present to do honour to her newly-
married lord. Mr. F. H. Cowe^'s Concert Overture in D, composed
for this year's Liverpool Exhibition, was also given; but—well,
generally speaking, the proceedings were rather tame—for Richtee.

The sixth programme of the Philharmonic Society was extremely
interesting, and those who like plenty for their money, got it at
length,—at very considerable length. The first part alone occupied
nearly two hours. Perhaps when a bishop has perished of exhaustion,
concert-givers will begin to realise that from eight to ten is quite
long enough for the proper enjoyment of serious music. It has one
merit—it induces a delightful thirst, and an appreciative hunger.
The principal features were the performance, by Fbanz Ondeicek,
of Beethoven's Yiolin Concerto, and the production of Moszkowski's
new Orchestral Suite, composed expressly for the Society. Mr. Ondeicek
has long since achieved distinction as a fiddler, and his playing of the
favourite Concerto was remarkable for refinement and correctness. In
the slow movement he was both tender and true. He is a real Bohemian
Boy. On the other hand, Mr. Moszkowski, if not hailing from
Moscow's sky, is at least a native of Russian Poland. His new Suite
is one of the most original and delightful bits of music that have
been recently introduced. Quite the sweetest thing in Suites.
Mr. Punch loves to recognise merit such as it displays, and he
therefore votes solid for Moszkowski, and crowns the head of the
Pole with laurels.

There was not a spare seat at Covent Garden when our own dear
Albani made her rentree as Marguerite in Faust. She was in
excellent voice. But please, Madame Albani, why will you pause so
long on your most " fetching " notes ? It is generous, it is done
with the best intention, but, take for example, when Marguerite
meets her lover and ought to reply to his offer of seeing her home in
the quietest and simplest manner—isn't your method at that moment
too theatrical, artistically considered ? And, therefore, is it worthy
of our own Albani ? The rest of the cast included Signor Gayaere
as Faust— at his best, though tremulous with the "vibrato;" Signor
Monti, a rough-and-ready Mephistopheles—with a tendency to sing
flat—and Mdlle. Ltjbatoyi as Siebel.

A capital rendering of the same Opera was given by the Carl Rosa
troupe, with Geoegina Buexs as Marguerite. She got on famously,
especially in " The Garden " scene (though played at " The Lane "_),
and her rich voice was charmingly modulated in the pathetic music
of the prison, where the unfortunate heroine recalls one by one the
melodies of happier days. Mr. James Sauvage was Valentine, and
Mr. Ben Da vies, Faust. They did credit to their respective charac-
ters. Mr. Baeeington Foote made a somewhat ridiculous Mephis-
topheles. He had little or no " spice of the devil" in his composition
or expression. His voice is not powerful enough, nor can he go low
enough to raise a suggestion of Inferno. Miss Maeian Burton was

*r~'-' -

Miss Marian Burton takes the Chair at a Meeting. Miss Burns as the
Countess Almariva, and Mr. James Sauvage as the Count Out.
a picturesque and almost ideal Siebel, so far as appearance went.
Her singino-, too, was delightful, but she is at times apt to forget
that she is acting a part. The fact of Valentine's being found
dead in the streets appeared to have no interest for her, her de-
meanour at this point being casual in the extreme. In this Opera,
and especially in Figaro's marriage, her comely face was too highly
coloured. "Burton's Anatomy" lends itself to the appearance of
the chubby Cherubino. But, Miss Maeian, do spare the rouge
and hare's-foot; I adjure you, as Cherubino, in ancient and choice
Italian, " O Formosc puer, nimium ne crede colori ! "

Madame Julia Gatloed as Susanna, presented a marked contrast
to Miss Btjeton in the matter of colouring. Why is her complexion,

instead of being unduly rubicund, unduly delicate, not to say con-
sumptive ? Why will Julia be so peculiar ? She can beat most of
'em "by chalks," so.why do it with bismuth? But La Gatloed is
a very lively Lady, and an excellent Susanna,—this is the opinion
not only of the Elders—which in the case of Susanna, one must dis-
trust—but of the Toungers also. Almaviva was played by Mr. James
Sauvage, who in the spoken parts talked with a charming brogue.
Could he have been an Irishman in Spanish dress p Evidently the
O' Connor Don. Don Basilio (Mr. Charles Ltail) ought not to wear
a moustache, but he was distinctly good in other respects. Mr. Bae-
eington Foote gave " non piu andrai" with great effect, but he
was decidedly too English—a London Figaro rather than the Spanish
Edition.

In the Garden.—The Huguenots introduced a debutante in
Mile. Elena Teodobini, a magnificent dramatic soprano. Of course
she took the part of Valentino,, and could not fail to provoke the
utmost enthusiasm. Always artistic, and never seeking to '' shout
down " her colleagues in concerted pieces, while simply grand in her
solos, Mile. Teodobini played the arduous character from first to

sf

Maoul. " I liaoully must leave you." End of Duet. Raoul takes a flying
leap out of window. Valentina faints. Curtain.

last with consummate ability. Signor Gataeee was Raoul di
Nangis. He declaimed with passionate fervour, and brought down
the house with bursts of extraordinary volume. The scene in which
he refuses the hand of Mile. Teodobini—when he says, in effect,
" you shall not be my Valentina"—was excellently well sung and
acted by all concerned, Miss Ella Russell, as Marguerite de Valois,
contributing not a little to its

effect with a very sweet and pSfc>,
flexible voice. Madame Scalchi Wgj£|»
made her first appearance this 2>S!»-")
season, and was warmly wel- ^SiMllSit^giA
corned as Urbano. Nothing ^BiSiiplwi^i
could have been much better .^^Mlf! c-flfflttfe.

than her singing and demeanour. /filiPjIlaav ^t'lr^^Bk

Signor PlNTO, a powerful and JK|I^^Bpy|Lja^5»,
resonant bass, gave point _ to ml^S&^^^^^^:\ lUk
Maecello's music, which Wil^iHiflll'-* VW*
sounded well upon his ?grand ^IHf s ,''^iWyll%Nv\ \%
organ. He is rather a Quart o' .^I'l ^lif =r-M )B
Bass than a Pinto Bass. (Ahem! .^B / ' \= I J ox\ \
let us to supper.) -J s/ "^ssA ■ »

Again in the Lane.—Madame *^§^\ Jl

Maeie Roze gave a splendid ^; ' xcnx/ $: (\5§S$sSy~'*
specimen of the half - savage '7 / : Io ^ n^^ '

petulance of the spoilt Car- I /.v

men in the last Act. She N^^NRij^^^'^ \\^>

played as well as she sang. i , ~ yp§H§l\\

What a lovely Act this is from I II™ ■®r\ \\

a musical point of view! and Smtree of Madame Scalchi as XJrhano.
how exquisitely fanciful is the She's Scalchi-lated to be one of the most
ballet-music ! 2 propos, Her brilliant Pages in Operatic History.
Majesty the Queen has taken a box for the Season a la Rosa
Bonheur! but how is she to profit by it in Scotland, unless a
telephone is brought into play i bhe can't do it. Lord Randolph
has just telegraphed to say it's a Balmoral impossibility Madame
Roze's Manon was as bright as ever, the drinking song sparkling as
champagne, and the soupcon of Mr. McGuckin as effective as when
this old joke was new, only a year ago."

NlBBELUNGLET.

P.S.—The Operatic Week wound up with Un Ballo in Maschera,
excellently given at Covent Garden. Mile. Valda, as Oscar, was
charming. Signor Gataeee could not be bettered nowadays as the
Duke, but he has not the delicacy that made Maeio's E scherzo e
follia such a memorable triumph. The Ballo must be repeated; it
was a decided hit. Remarks reserved.