Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1884-06-05

of Prof. Downs, who led them
and the orchestra IN the magnificent
Essa< OF the Aeiacrsisgr. The tenors are
= little weak vet in volume and power,
M We have no doubt their ranks will be
stnenglbened before the time comes round
ior the Third Music Festival in 1888. The
zresh, Young voices Of the women were in
volume and purity Of tones revelation and
are sure 70 be greatly enjoyed in the
cbOrus OF fairies in the Midsummer Nights
D,-ezaa this sfserlo0n-
Itis almost a work OF supererogation to
aatempl a tins late daie an estimate of
MEterna's place in art 81 know Materna,"
writes Wagner himself, land who my best
ones are And in the same letter to
SeEriz ne adds ~You two Scotcil-Austr
SlsVE Asberna and Scaria] are just nv
5sz German singers. Thon can show to
Al as models Of what is most Important to
ne in dramatic singing" To the master
she ~as as perfect as he hoped for.
Sbe realized Tor hin in stage
presence, IN her spontaneous grasp
O. ms purpose, her deep devotion,
her dramatic action and broad method
oi singing al that he dreamed OF in his
her0ines- she sung for him as his own
hear had when his brain was begetting
me characters that are to stand for all
time Her effective vocslization was in
time with ms own conceptions She was
imb3ed with the same spirit, her heart
was touched by the magic that possessed
him, and her soul was aaame with the
national, NJ, the race, egoism that in
I,elled Wagner on until the last strain of
ParsfGi Eak born. ''No other name, !" says
aznslich, Of Vienna, as so intimately as
sociz1ed with the existence and prosperity
+ i the Bsyreuth festivals as that of ANA
ia MEtern2" She was there to the last
4 y agners best German singer. Her
vuioe knew no wane. In power
Ena method she has always been
equal 70 the demands OF that
music Ehica ii was predicted would in a
re-y short time ruin the best voices.
! ample in quantity, her voice is superb in
Z tone quality and thrilling in declamatory
( are and expression The passion OF the
words zni music take possession of her
and she Is translated. Who can forget
the sUbhmity of her art as -Brunnhilde'
IN the act OF sef-immolstion? The clang
and clash, the weird and sometimes
impuisive walls OF the orchestra still ring
< Our ears as, combining with the voice
uf the srtiss, the very acme Of a great art
<2s reached The applause as it swelled
iast night and was prolonged certified to
fhe w&rm appreciation of this. The
Talalhalasr, so familiar, viii hereafter
have i0T rs only the memory of Materna
7he joyous eXaltation and emotion
Z 81 Elizabeth" were revelations tina
enly Msterna could make, and in the duet
ior @Iannhznser" and Elizabeth" sht
crowned the work OF the first part of the
concert, and established herself with the
pub.ic Of Memphis as supreme as Wag
ner artist In the merely brilliant arts o
/ VoczEzstiOa Alsterna may not compare
with some OF the other great artists of ths
aPeratic stage, but there IS not one o.
them Al who can with such soul-mastery
1 deliver the intricate measures and
strange, involved harmonies of Wagner
She cannot, perhaps, trili like bird, she
does not waste her power in fiorature, sh,
dOes not run the scales and daze her lis
teners with vocal gymnastics. Her grea
gifts are put 70 nobler uses. Womanl!
and winning. she Is possessed by the die
ATTY si her art and the purpose OF the i'm
mortal master whose best interpreter sht
n She bears q message and delivers it a
becomes one called hy Wagner himself
snd she leaves 8 memory of inspiration
OF profound devotion, of the greatest gift
and the highest achievement in the art o
vocal defamation.
The impression left by Scaria and Win
kel-nann, who were heartily applsuded a
every possible opportunity last night, i
one OF neWness and freshness, truthfulnes
End natGralness in lyric defamation
They also impressed us as the suitabl
ministers of Wagner's designs and as es
sensial TO the introduction of the compose
% the music public OF the world, worth
/ pioneers zith Naterna in the initiation c
the reformation OF the operate stage. L
personal appearance they are large an
admirably proportioned, and in manne
sre self contained and beeomngl
dignihed. Scaua has, perhaps, som
advantages Of schooling and natural gilt
that sntitle him TO the first consideration
. but WinkelmaRa, whose voice takes
woe range AMI may be cisssed baritone
Tenor. does not lose greatly by comparison
in impassioned feeling, expression an
warmth OF color, he cannot easily be SUI
passed. AS "Tannhsuser" these quslitiC
were made plainly apparent, but g
''WOssn, in she Aeissersis,ger, they wei
saoentuafed TO positive degree. In tn
Prize Song" he seemed to besr the bu
DER Of proof for ''the music OF the future,
En6 90 be imbued with the spirit tn:
sustained Wagner through so man
yezzs, and up TO the final and siI
: zal victory he achieved with Parsya
Tzis Geiects. and he has some, are trivi
~ comparison with his better point
and cannot he obtruded here. He is
. I wsgae-ian artist, and bears Wagner
: s-zmp and approval. Scaria, the basso,
! he outset Of his career had the misfortur
I, % ian under the hasty and misconceiye
{ criticism Of Wagner while rehearsing ii
= par OF ifWo;Sn7 at Berlin, but he also G
. 4 borr or 50 later on that occasion was de
. fsned 10 : signSl triumph in the confessiC
q the conposes, after a more patiel
iIezsinc. Thus IL was conceived w
? tsn--r l.sss zight he renewed the evi6sn
: yzaich certified 10 the soundness OF I'll
. rerSses Of WSgner's in 8 masserful assum
siaa Of tie part OF ''wotsn," the reeo
rition Of his special eKcellencies by Il
K audsence being spontaneous tributes tn
! could not well be withheld He divide
b the honors with Materna, whose "Brun
/ hide cannot ever be forgotten.
= Ta18.kgsls-T. as the ''IRndgrave,n
- also gave evidence of his broad declam
! tor Esvle, ms superb method, his path
4. and refinement and thorough eompr
z heasiOn Of Wagner, and easily obtains
o the warm approval OF the audience i C
Z rea6ily be perceived, even from last nigh
4 performance, incomplete as it was as
= s1zZe settings and accessories. that VIII
( szlvini is 70 the tragic stage Scaria al
E Winkelmann are to the operatic, or
: Wagner terms il, the "masik drams
4 Ike the great Italian, they rise to 4
I dignity OF al their persenstions. wheth
( uay1holsgical or posticsl. and are imbu
2 With the spirit OF the work, with eony
K ton of the weight Of that work and
= place IN TIE art which is above all othe
Il sInos i reaches nearest to the soul a
!. dominates ~ sentiment and synpatl
Wagner II his sss., as we have beiC
sud. nazst l,e seen on stage islly eQui
= Ped With ali de accessories and scenic
! fec-s that the painters art can summs
a he vas, 6rst OF AL, great artist.
- kim 81 ths arts combined. Poetry a
q painting and sculpture were essential
D. his purpose Music Was tae ;Aread>'
: xhich these zese held together. his
i i,re.<ss a-s d;znifed. not only IN thel
: 81 n trsz1menf-and - say this frs
!. azsther than the ebortive translate
q tse hzaSs,ook. The story is the
i whence the Gramasis acton with its