New-York tribune., 1900-01-01
MUSIC.

MUSIC
No matter in what language it is sung opera
is still spoken of as an exotic in New-York.
though for half a century or more the rule has
been that the beginning of a new year sees
the public engrossed in one opera season and the
end sees 1t wrapped up in another. The year 1895
was no exception. 1t began with the Metropolis
tan season at its height, and ended with another
Metropolitan season in full swing, though but
fortnight Old Like as two peas are the seasons,
save for the absence of two artists of unique
excellence-Mme. Melba who is filing star en-
gagements in Germany, and Jean de Reszke,
who is resting on his laurels and, mayhap, wait
ing for the Macedonian call TO reach him from
New York.
Time was when the operate record of year
included the production of several new works
OF Importance, but the annals OF 1850 are almost
barren in this respect. So far as New-YOrk is
concerned only one premiere is TO be set down,
and that one did not trouble the waters of the
stagnant pool Our only novelty (of course, we
are leaving the comic hybrids out of the ques-
tom was Mancinelli's "Ero Leandro." Lon
don was not more fortunate than New-York but
the capitals of Continental Europe, with their
subsidized opera houses, were. In Paris we
note the production of Chabrier's 'Briseis," Paul
Vidal's "Burgonde," Andre Messengers 'Yeron-
ique" Massenet's "CendriIlen" and Saint-Saenss
"Proserpine'; in Munich, of Siegfried Wagners
''Barenhauter' and Heinrich vogls "Der Fremd-
ling; in Vienna, of Goldmark's die Kriegs-
gefangene"; in Berlin of Kienzrs "Don
Quxote" and Zoellners die Versunkene
Glocke," and in Dresden, of Georg henschels
.Nubia." There were others, and no doubt
scores of new works sprang up like mushrooms
out Of the Italian soil only to live out their little
lives in day. but these are all that come TO
mind just now, and surely all that hold out
any promise o. future existence. How great is
that promise: Not great, but exceedingly small.
Not one of the novelties is likely ever TO cross
the ocean to us. OF greater significance to lne
Partisan repertory than the five new works
which saw the light of the stage lamps in the
French capital was the first production of Wag-
ner's Tristan und Isolde by NJ. Lamoureux,
the brilliant record of which has already been
clouded by the death of the Jealous and able
conductor.
The process of making great musician out
of Siegfried Wagner by dint of reclame is GO
ing on merrily in Germany under influences
emanating from the Villa Wahnfried; but thus
far the American admirers of the great Richard
have not encouraged It, We have had our little
share however, in the spectacle afforded by the
rocket-like career of Don Perosi. whose back
ing was even more influential than that of
young Wagner, being nothing less than the
Vatican itself. New-York heard one Of the
young priest-composer's operas. and so die Bos-
ton, but there the record ended In spite of all
the pomp and circumstance of the perform
ances neither public nor critics were found 10
do the works reverence.
New-York not only had operatic representa-
tions in 1899 which surpassed those of all the
European capitals, save London, in the In
dividual excellence of the singers employed but
its concert record was also a proud one
dozen artists OF worldwide reputation added TO
the interest of the meetings Of such sterling
organizations as our Philharmonic Society the
Boston symphony Orchestra, the Knesel Quar-
tet, the Oratorio Society and the Musical Art
Society. Leaving out of the record the names
which are daily in the public mouth, because of
the opera, we note those of the pianists Pade-
rewsk Rosenthal. Hamburg, Sauer De Paeb-
mann and Carreho; the violinists Burmester.
Lady Halle and Petschnikoff and the singers
Blanche Marchesi, Clara Butt. Emma Nevada
and Plunket Greene. The fair and growing
fame of American music has been upheld
abroad in all the fields of performance bv artists
like Nine, Nordica, Nine. Eames Nine Car
reno, Miss Maud Powell. Miss Leonora Jack
son and David Bispham; and the professor of
music at Yale Horato W. Parker. by going to
the choral FESTIVAL of the English Worcester and
conducting one of his large works there. opened
the British eye hitherto obstinately blind, to the
fact that America produces musical compo-
sitions as well as boodstuffs-a fact which
ought to be impressed upon the world at the
Paris Exposition next summer