Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1884-05-18
The FIT. 4 ser;e, of Concerts


When the tlree Wagner singers came
on the stage on Tuesday evening, the first
of the serit IS, the general and continued
applause which greeted them gave unde
niable proof of the pleasant impression
Materna b ad made on the New York
public two years ago, as well as the warm
welcome accorded her distinguished col
leagues I Gerr Winkelmann and Herr
Scaria.
Never had the Metropolitan Operahouse
held as many people as on that evening
since, erhaps, on the opening night of
the op. cratic Sc ason last fall. 1t was
magnificent sight Turn where one would
a bou ndless. sea of faces greeted ones
gaze. Before you vast body of chorus
sing ers, rising, tier after tier, to the roof
OF tshe stage, apparently, and extending
clear across it, while seated as closely as
musicians and instruments could be got.
consistent with the necessary space for
| their arms and music-stands, the un-
| rivaled orchestra was arranged ready
\ Tor their great work. An extra stage
| was then added in front, covered with
| crimson cloth, on which the soloists sat,
| while elevated little above them in the
| ceuter stood Mr.. Thomas, the magician
| conductor. From this stand and as high up
| as there was a place to sit or stand the
| people were crowded together. That was
I the brilliant and animated picture that
I greeted the smiling face of Materna as she
bowed her appreciative recognition.
| Despite the bad acoustics of the opera
| house and they are vile e-her voice
/ seemed to have increased in power, rich
ness, sorority and musical quality since
her visit to New York two years ago.
Then she sang in the Armory, a disad-
vantage enough in itself to affect the repu-
tation of singer; besides which the pitch
in this country at that time had not yet
been lowered, and was semi-tone higher
than that of Europe. These difficulties
/ removed, Materna's vocal art rose to as
great hight as is possible to an artist
| delivering dramatic recitative with all
the warm coloring of her artistic power in
the conventional atmosphere of concert
room. As Elizabeth" in Tannhauser,
her tones were mellow, warm and tenderly
expressive. Like that of her two col
leagues, Materna's style is broad, noble
and so thrilling at times it electriies the
coldes.. Her enunciation is something
extraordinary in its crispness, and the
German words, usually harsh to the ear,
1 come soft and musical from the accom-
plished singers throat.
The feeling one is haunted by while lis
tening to the Wagner trio is one of intense
longing to hear them in opera entire,
where the costuming, scenic effect and
their superb acting might complement
the dramatic vigor and beauty of their
/ voices.
The average large audiences drawn to
the Wagner concerts prove unquestion-
/ ably the power such art exercises over
l the public everywhere when interpreted
by exponents like the three Vienna giants
In Boston the audiences weD immense
and the press teemed with the highest
tpraise. l certainly predict the same bril-
liant success in Memphis.
4 To comprehend the musico-dramatico
I art of Wagner one must be willing to be
{ taught. Prejudice and ignorance will shut
one out forever from that thorough SYM
pathy necessary to satisfying grasp of the
bold art reformer's peculiar theories. The
egotism of human nature, the dogmatism
of ignorance or preeonceived ideas refuse,
in consequence, to lay the blame
where it belongs, but instead impu-
IDENTIFY ridicule the great apostle
and his disciples as cranks and FOOLS
Like Chopin, Wagner is a tone-poet,
whose richly embroidered methods as
; sumo an intricacy, which only unravel
, / themselves according to the patience of
i those willing to learn.
"Brunehilde" Frau Materna possesses
every element requisite to the impersona-
ton of the half divine, half warrior
maiden. Nature seems to have especially
fitted her for the role. No wonder Wagner
selected her as his priestess for the Nibe-
lung Cyclus. With such gifts rs hers what
| could he want more? Noble stage pres
1 ence, superb physique, voice capable in
its remarkable richness, sweetness and
power of any reach in high dramatic art.
AT the first concert Materna was the re-
cipient of a large bouquet of jacqueminot
} | roses tied with broad white ribbon.
| Again and again the three artists were
called back amid the most hearty and n
T cries of "brava," "brava," all over the
, house.
IL The army OF chorus singers was equally
I demonstrative, and it was amusing to note
| the distinguished soloist alternately bow
: ing first to the audience then with the
I same evident appreciation to the great
mass of musicians and singers behind him.
III BY way oi encouragement to the Mozart
Society of Memphis, / want to say right
{ here that believe they will do better worE
| in June than was done by the two chorus
societies selected foF the festival In this
city. Their time was frequently very un.
steady, and under any less skillful COM
: mander than. Theo lore Thomas they
D might have become utterly demoralized,
: The New York Liederkranz, a very nne
e male chorus, ought 10 have sung in bet
, ter tame than they did; they flatted
!, irightfully. The soprano and alto voices,
5 belonging to the Brooklyn Philharmonic,
S and the New York chorus societies were
8 generally fine, but the male voices would
E fall. Women always sing with truer in
a tonation than men, whether as soloist OF
= chorus singers. do hope the Mozart So
ciety win not be 'found wanting" when