The mirror. (Stillwater, Minn.) 1894-1925, 1906-05-03


about an equal share; while number
of ''high Cs" give the tenor opportuni-
ties for much grandstand play.
Verdi's "Rigoletto," "Aida," etc, are
superior from the musical standpoint.
Whether Mascagni should be num-
bered among the above mentioned
composers, is still doubtful He has
achieved success only in an one-acter,
"Cavalliera Rusticana," and even that |
has become favorite solely by its
very pretty, but also very short, inter-
meZZo.
What has been said of Italian, holds
good for French composers also
Auber, Berlioz, Boieldieu, Halevy, Mas
senet, Ambrose Thomas, Gunod, Bizet
and number of others, have all
written very melodious music, without
establishing claim to extraordinary
superiority. Of Englishmen, Wallace
alone has written an opera which is
given occasionally. 1t may have been
noticed that opera bouffe composers
like Offenbach, Lecoq, Strauss, Suppe,
Gilbert and Sullivan, ETC., have not been
mentioned. Only one of these, Suppe,
has written light grand opera (Poet
and Peasant) the overture of which is
often heard at concerts, and is very
popular.
1t requires particular mention that
almost all of the first-class composers
have written much catholic church
music such as Requiems, Stabat
Matters, TIE Deums and Ave Marias,
while Bach alone of all the great
classics has furnished protestant
church music. But that. tho for or
gan only, is of great beauty, particu-
iariy when rendered by a irst-cass
organist. None but such is able to do
full justice to it. Most all great COM
posers have occasionally used church
music in their operas frequently with
much effect, as, for instance, Wagner in
the "Pilgrim's Chorus" aid other num-
bers of Tannhauser. But Wagner inter-
mingled it with scenes belonging in
the realm of mythology, which, he be-
ing catholic, brought on him the
displeasure of Rome, and he was
promptly accommodated by Plus TX,
The most unique example of using
that kind of music in opera, is fur.
nished in "Les Huguenots," where
we hear Luther's beautiful choral
. "Eine feste Burg ist unser Gott," and
; later on, grand sextette with chorus
'The Blessing of the Poignards," pur
7 porting to be strictly catholic music
In this great operatic drama, which
{ deals with incidents of St. Bartholo
: news Night, catholics and protestant
. slaughter each other to the tune of {
r music composed by Jew. (Meyerbeer.
! Here in America, classical music il
J, mostly heard in catholic churches, il
: organ recitals, and first-class concerts
D When Colonel Mapleson was the i'm
q pressario of H. M. Italian Opera Co
q he used to give concerts on Sunda,
y evenings in the old Academy o
}. Music in New York. Tho not strictl
o sacred concerts, they yet containe'
+ many really great numbers. Rossini'
+ s'Stabat Mater" was frequently on tn
u program, and sung in exquisite style
c especially the "Cujus amman" b.
ei Italo Campanini, then at his very bes,
d and "pro precatis" by Signor Novarr
y (basso). Parts of oratorii were ais
l. given occasionally; the writer remem
d bers having heard there several solo
8 and quartettes from elijah" Poo
y Campanini! He is one of the man
g victims of Wagner's music; and so
5, Jean de Reszke and many other tenor'
! No sooner does good tenor reach tn
r, apex of perfection in lyric parts, tina
:, he gets it into his head to sing Wagne
is That is the height Of ambition of a
tenors-and generally their finish als'
h None, as yet, has lasted very long e,
j. cept the inimitable Niemann, who di
ii sing Wagner for more than twent
Ii years, principally in Hanover, Berli
le and Beyreuth. But Niemann was
II veritable giant in stature; and yet b
y had to build himself up by drinking
le bottle of champagne just before eac
If performance, and sometimes pint (
Is two Of the same stuff between act
i None of the first operate. stars has