The morning news. [volume] (Savannah, Ga.) 1887-1900, 1895-03-03
MUSIC AND MUSICIANS.
NOTES FROM THE NEW ENGLAND
CONSERVATORY OF Music.

stars That Are Attracting Atten-
singer Who Was n 'CeIIist-The
Greatest Piano Teacher other
Matters Worth Noticing.
/ y. T. Conservatory. Boston. Mass. Feb.
RI had forgotten the honorable birth
I day OF the father Of his country until late
/ last afternoon when beheId his counter
/ felt presentment done in oils" and draped
/ IN the star-spangled. large as life and
almost as majestic. welcoming with out
/ stretched hand visitors to a polo rink,
1t was an impressive sight. and would
/ have gladdened his eyes if he could have
/ seen il. It seems to be one of the penal
| ties Of greatness in America. to be com
PEELED to literally lend countenance TO
/ patent medicines or to masquerade in
/ sign painters colors on holidays. Then
/ dismal bell began to strike the hour of
I the generals birth q SUPPOSED this morn
| ing-and then the number of years he
/ lived and the number of those since his
| translation, for the ediication of sleepy
/ headed patriots l think we all got up in
/ despair and mentally consigned bell ring
/ ing to the limbos 70 GermeIhausen. Some
! of the Outside students with an eye
/ to festive gayeties howled because the
/ 22d is not on n. T. c. holiday But those
/ of us inside are very glad. for we have
/ reached that point of application where
/ holidays are a snare and d delusion and
/ a hard dig more TO be desired than
much merry-making. Besides a holiday
| isn't a holiday when it is given to you.
/ There is a pure delight in deliberately
/ sneaking out of work and recklessly tax
ing no thought for the morrow that no
| legal" day Of idleness can possibly be
[ stow. And 1 reckon the most of us pre-
/ fer it.
/ Grand opera next week, and much con-
/ sulting of programme as to which opera
! Is really the best to see and will give
/ the largest returns for the expenditure.
! or course. everybody wants to 20 the
| opening night to the Huguenots. for the
/ cast is dazzling Nordica, Media, Schalchi,
/ the de Reszkes, FNancon and Ancona. No
/ other such constellation in the opera sky
/ for the whole week. though there are
/ Eames Cor Melba) Maurel and Tamagno
/ in Othello, and Melba and Jean De Reszke
/ in Romeo and Juliet, and Sybil Sanderson
| in all her glory as a bright particular
/ star in "ManOn."
/ Mr.. Elson kindly Interrupted his course
| of lectures yesterday afternoon to give
| us the salient points Of the operas, and a
| little critique of the various artists.
The last Musical Courier says a lot of
/ clever thing apropos de Topera. Here
are some: 81 think that Joe Green, other
] wise Giuseppe Verdi should be called the
| greatest boy composer that ever lived.
/ He is so old that like Bundelcund. he has
/ become child again. Heavens! what may
/ he not compose wnen he grows up and is
/ about 10 years old
Then:
Les Huguenots always gives me the
] impression OF having been written by
! syndicate"
/ Its vast volume amorphous in struct-
/ ure, its solemn tunes, its turgid orchestra
ton and vocal frivolity seem toe much
/ for the imagination of any one man to
/ have compassed and composed. Meyber-
beer was more than host; he was
4 syndicate"
Again
I'VE should have had 'Falstaff' at the
beginning of the season. Its beauties
would have become patent to the opera
| going public and the work favOrite.
| 'Apres moi le deluge, said the Wagner
ties of the Great Richard. After Wagner,
Verdi we can now truthfully exclaim."
Speaking of the baritone. Campanari.
| the Musical Courier remarks:
AT least one of the singers in the
! company does not want to sing in Bos-
| ton This is Campanari, who was for
! several years a 'cellist in the Boston
| Symphony Orchestra. He was born in
| Venice and learned to play the cello ami
| became a member of the orchestra at L.
| Scala. While playing there he discovered
| he had a voice. and he says the only in
| struCtion he has ever had in singing
was in watching singers and following
the advice they gave him. He sang sue
! cessfully i'm his own country and in Spain
before coming TO the United States. He
| settled in Boston, but never could per-
suade the Boston critics that he could
sing. They would only accept him as
'collist, and when he first began to sing
in opera in New York he says they de-
clared he would never rise out of cheap
English operaH'
So much for Boston's critics. To-day the
musical papers write rapturously of Cam
panai's grand opera manner" his noble
voice" and his ''musicianship," and quote
| Tamagno's hearty commentator of his
fellow singer: "Mais c'est une belle voX;
bravo, bravo. bien chante." after the big
scene in Fastaff.
The conservatory management have
bought lot of tickets for the girls in the
home department who desired seats for
the opera, saving them the time and loss
of temper suffered by those who had to
stand in line" before the box Office. We
had one of the most charming and inter-
I eSttng recttalS or the year last evening IN
Sleeper hall. A chamber music programme
given by the n. E. c. String Quartet, Emil
Mahr, (head of the violin SCHOOL,, first
violin; Charles Mclaughlin. second violin;
Daniel Kuntz, viola, and Leo Schulz,
cello. They were assisted by Emil Golde,
double bass and Mrs. Louis Mas at the
piano forte The auditorium and balcony
were filled to overlooking, even the door
ways were crammed with people. The
stage always looks interesting when it is
"set" for the tiny orchestra with the four
music stands hobnobbing sociaby to-
gether, the rug for Mr.. Schulz's lovely
cello. that he delights to wiring our
hearts with (the cello 1 mean, and the
handsome gold-colored Miller concert
grand with its genial rows of keys and sug-
gestions of delight in its shining length.
There were only two numbers on
last evenings programme, but
each was cluster of gems of purest ray
serene. The first was Aus Meinem Leben
OTrom My Life, by the Bohemian Sine
tana, who lived to be deaf, and who died
but few years ago in an insane asy-
lum. His music, however. was written be-