The courier. (Lincoln, Neb.) 1894-1903, February 05, 1898, Page 2, Image 3
-f -;' THE COURIER. r The Passing Show. WILLA Some excitement prevailed in the town when it was announced that Melba and Campanari and Salignac would appear in opera at the Carnegie hall. The Carnegie is a sumptuous enough place, but the stage is merely a concert stage, and the drop curtain, Bcenery, wings and stage settings had tone improvised on the spur of the moment, and they certainly were queer enough. But all the theatres were engaged and it was the Carnegie or nothing. The drop curtain was a wonderful affair. The ceiling of the hall is high and vaulted so the cur tain had to be swung from the dome by ropes. When it ascended it wob bled sideways quite as rapidly as it wobbled upward, and it required the BHtst tender And prolonged-wooing on the part of .the stage manager to in duce it to descend at all. The ropes with which it was hung were con cealed with laurel garlands, and as the curtain was comiug down the laurel leaves literally rained down upon the singers, who were grouped smiling at the front of the proscenium! The stage settings were even more amus ing. The opera was Rossini's "Bar ber of Seville,'' but you would never have known it had anything to do with Spain by glancing at the stage. Bartolo's home was furnished like a modern flat, and he sat down in a re volving desk chair to be shaved. Of course all these things gave a hope lessly amateurish, parlor-theatrical ef fect to the whole performance and I. was unable to take anything or any body very seriously. As in H Trovatore the Barber of Seville begins with a cercnade, ''Ecco Kidente in Cielo," the most beautiful aria in the opera. AndM.-Salignac sang it well, though he has an incli nation toward inopportune falsetto. He is such a very conventional tenor, that Salighac There is not one-of Xhe charming old grand opera Pianner jsms which he lacks: the stilted walk, the florid gestures, the elaborate atti tudes, he has them all. r'-tTi!?M - ' J " Of course the feature of dominant interest was the appearance of Mme. Melba in opera buffa. Her reception was really very funny. Her appear ance on tins balcony in the first act was cut because of the exceedingly unstable nature of the balcony. The balcony in the Chicago Auditorium fell down with Melba several years ago and almost precipitated her Into Romeo's arms, so it behooves her to beware of them. She did not appear, until the fifth scene, where you re member she enters alone to begin the famous chamber solo, dear unto the fceartsofallcoloratura sopranos. Well, it seems that the audience had not read the librettos carefully enough,for when she stepped upon the stage not a sound of applause or recognition was heard. She was made up like a Calve brunette which disguised her effect ually, and I fancy most people thought she was only a maid who had come in to dast the furniture and incidentally to,throw a little light upon her mis tress' love affairs. Many a time and off have I heard Melba, but 1 never before saw her get a reception like that. It must have been an experi ence for her, roust have reminded her of the days that are long forgot, when they wsed to give her the "chilly band ' out in Sidney, Australia, before the era -of Paris and Marcbesi -and tri- CATHER. umpli and ail the rest of it. Of course assoo.i as she began, singing the fa miliar "Un Voca Poeo IV the audi ence realized that she must tie the lady whose name figured in large type at the top of the programme, and did its Christian duty. The papers next morning apologized by saying that 'the great diva 'entered so quietly that she was not at first recognized.' Pray did they expect the "great diva" to enter uttering war-whoops or turn ing handsprings? But to return to "Un Voca." What a song it is, that brilliant, showy, glittering melody, with its wonderful opportunities for vocal display, its en tire lack of anj' emotional quality deeper than the prima donna's de light in her own powers. And it was sung as just one voice in all this world can sing it. One upon another they came, each sweeter than the last, those round, full, unclouded tones, those notes of silver, shaken from her throat as lightly as the water drops from a sea gull's wing when it flies sunward"in the golden dawn. O, the flawless perfection of her method, the magnificent certainty of her execu tion! One could travel the earth over without finding another organ of such exquisite mechanism: it is a thing apart and unique. Perhaps were one even to search among the celestial choirs one would not find such an other. Nature so seldom exerts her self to do her best. To hear Melba as Rosina is not al together sitisfactory. It does net sufficiently test all the wonderful re sources of that voice, does not call out all those transcendent miracles of tone that delight, dazzle, exalt, and finally exhaust one. Yet in some re spects the part is better adapted to her than almost any other. She can do in a light ssmi-comedy part what she never does in a heavy one satisfy. Her imitations of Calve are painfully perceptible, yet she does, after a man ner, act the part, and it is the only one I ever saw her act. As Juliette, as Desdcnicna, as Talentine, as Mar guerite, it was always the same expe rience; always that perfect, soulless voice, always that futile colorless stage emotion which does not even deceive the singer herself, aiwa3's the bitter disappointment of seeing her catcli at the stars and miss them, and always the recurring question as to "what shall it profit a man if he gain the whole world and lose, etc." It is the old story; she has the voice for grand opera and the temperament for opera buffa, one of God's sublime misfits. It is no wonder that when her old teacher out in Melbourne went over to Paris to hear her in one of her great triumphs, he bowed his head and said, Ali, my poor child, if I could but have given you a soul;" How strange that one who has so much should yet lack that thing holier than all, that thing which alone gives art a right to be. Aiterthetumultuousapplause which followed her solo in the lesson scene it was Massenet's "La Sevellina," by the way she sat down at the piano that was on the stage quite informally and sang that tender little "Romance' of Tosti's, playing her own accompani ment. She was ill that night, and desperately tired, and as she played the interlude she seemed for a mo ment to forget that the audience was before tier and that she was Mme. Melba; she drew a long, tired sigh and NEBRASKrS HIGH. BEisrc rwk '-4 If this is what you want come and see us. If you want a cheap piano we have them cheaper than anybody. But we dont't push them simply because we are after the best class of trade. See! Notice Our Superb Line. No Cheap Pianos Here. i SHAW, WEGMAN, WEBER, JIWETT. 1 I Western Representatives, 130 So 13th st. closed her e3-es. It was the most beau tiful, the most unconscious, the most effective thing 1 ever saw her do on the stage. Ah, if she would but some times let the heart go out with that all-conquering voice, if she would but sometimes be a woman! It lasted but a moment. The applause recalled her to herself and to herlimitations: she came down to the footlights, the gra cious, smiling "diva," satisfied with herself and the world, one of the sad dest anomalies of our time. What revolution in thought and art lie between the music of Rossini and Mascagni. Rossini with his brilliant, florid manner, liis substitution of court etiquette for passion ard gallantry for intensity. Melba and Rossini, t'jero is something fitting and deeply suggestive in the combination! m The one man of that performance who kept within the picture, whose talent and temperament are well mated, who was always and wholly an artist, "as Signor Campanari as Fi garo. I have heard him sing the cel ebrated buffo air, 'Largo Al Facto tum," in concert, but in concert he is but the shadow of himself. He sang it magnificently, the sparkling, -effervescent comedy of it seemed alive. What a joyous, self-important Figaro, dector, barber, hair-dresser, watch maker, general factotum of Seville. Only a Rossini reared in the perni cious atmosphere of grand opera could have found anything attractive in the moony, attudinizing tenor with such a lusty fellow as that Figaro about. He literally carried that opera through on his sturdy shoulders. a . A few months ago a second volume of verse by Yonc Noguchi made its appearance. For sometime this young GRADE PtMiO HOUE WE DON'T push cheap pianos, but sell you the VERY BEST for less, money, than you can buy the same grade any where else. D A Japanese has been living in a cabin on the mountain-side out in Joaquin Millers country, "where the flowers are like trees, and the trees touch with heaven.' andthisisthesecond volume of poetry he has sent into the world from his solitude. While Koguchi is by no means a great poet in the large, complicated modern sensc-of the word, he has more true inspiration, more melody from within than many a greater man. He is one of the fervid singers, who sang when poetry was a passion merely, tint an art. There is a long stretch of time between such, verses as are written in the Occident today and such simple, spontaneous, unstudied songs as Yone Xoguchi's. These verses are so naive, so fragile, so entirely the children of an hour and a mood, like the songs of the unknown Hebrew poet who wrote the so-called books of Soloman. They arc conspic uously Oriental. The hurrying of the clouds toward the western horizon, he descripes as "A glorious troop Oftheunsuttcriagsoukof god. Marching on with battk-saund Against the unknown Castle of HeU." .Could anything be more suggestive of a simple, joyous indulgence of the imagination, such as we find in Japan ese carving or painting? We nave over-elaborated everything in the west; we have made whist so difficult that few of us can play it, wine so good that few of us can affora to drink it, poetry so difficult that few of s can read it. We must make a science even of recreation and kill all the joy of it. But here is a poet who has not tried to be profound. He sings be cause the sun shines, because the roses b'oom, because there is love and laughter in the world. He has the full measure of oriental melancholy and that warm languor or the spirit found in lands of perpetual bigh noon "Come," says tticyoung poet, "buy my tears, for I have sucked them from , the breasts of Truth." Pittsbubo, Pa. u .-