A Peep behind the Scenes in Italy Author(s): Claude Trevor Source: The Musical Times, Vol. 61, No. 931 (Sep. 1, 1920), pp. 633-635 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/911116 . Accessed: 17/01/2015 16:39

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This content downloaded from 128.235.251.160 on Sat, 17 Jan 2015 16:39:55 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-SEPTEMBER 1 1920 633

correspondence,about the same numberof works upon But one moreextract from these Venice letters: 'The his art, viz., Music of the Future' (now, I suppose, 'The marvellous relation in which I stand to the musicof the and a there past), bulky autobiography, Tristan" now will I are of coursehis from' Rienzi' ' " you easily perceive yourself. opera libretti, to Parsifal,' it since it is an observationdue to the which would fill a shelf of theirown. But it is not say openly my that never purposehere to speak of anythingbut his letters,and as initiatedmind, thoughnot to the world is so wide I narrowit down to the immortal has an idea so definitelypassed into experience. the field shall How farthe two is so communicationsto Mathilde Wesendonck. (His letters predestinedone another subtle, so wondrousa regard that the common mode of to Liszt, to his first wife Minna Planer, to Emil be full to perceptionwill able to conceive it only in the Heckel, and to AugustRoeckel are all the brimwith sorriestdistortion.' interestingmatter, but want of space compelsme to leave themuntouched.) To thestudent of Wagnerthe Wesendonck But here I must pause. I have I trustsaid enough to lettersare of paramountimportance. To her he confided show that the correspondenceof the great composersis a his innermostthoughts; and, what is of far more import- fieldwhich we mayexplore with pleasure and profit. ance to remember,if it had not been for her the world would have been the forwe should never infinitely poorer, A have had 'Tristan and Isolda'-at any rate, so Wagner PEEP BEHIND THE SCENES IN ITALY himselfdeclares. A perusal of these preciousdocuments By CLAUDE TREVOR addressed to his 'Dearest child'-as he precious styles assisted scores of times at such her-reveals at once the magnitudeand littlenessof the Having many episodes man. The world owes a debt of to Frtu as those recountedbelow, I ventureto thinkmusical readers gratitude like to me in ' a behindthe scenesin Wesendonck,who after Wagner's death did not regard may join peep Italy.' herselfas exclusive owner of this unique correspondence the masteraddressed to her. She silentlypreserved them The opening meetingof an operatic company in Italy forposterity and willed theirpublication : usuallytakes place at the firstrehearsal with the pianoforte, and is often consideredby singers as an audition. At 'For years since his death I have lived on these the rehearsal, or prova, as it is called in Italian, letters' [writes this remarkablewoman]. 'True, for besidesthe directorof the orchestrathere are also present me alone they have been written, adapted to my his substitute-alwaysengaged in case of an emergency- individual sense; but the truthswere expressed so the prompter,the impresario,and one or two members lucidly,the sure pathsto innercalm and happinessso of the municipal authorities:rarely anyone else. The gentlyand so clearlypointed out, that a knowledgeof primadonna almost invariablyarrives a few minuteslate, themmust be salutaryfor every seeking mind.' accompanied by her inseparable mamma-or chaperone- who considers it not at all correctfor her charge to go In such a welter of one finds it a hard subjects about alone, though, be it said, the lady is perfectly task to concentrateupon any single one. Now it is of care of herself. The Buddha and his which come for discussion capable taking general appear- teachings up ance of the artist in question is loud and showy, and are soon dissected; anon it is Beethoven and and in .her ears and on blaze ornaments his Nazareth as a every finger Symphonies; then Jesus of subject set with more or less authentic gems, while brooches, for a music-drama. Yet again our own Shakespeare,with and chains are about her wherever a vivid ' lockets, hung person dissertationupon Act 5 of Hamlet.' But a little But this is a trait of the sterner sex also, furtheron it is his and of possible. animals-for knowledge love dogs whose curioushabit it is to adorn all the fingersof each was Turn but a few in these and proverbial. pages letters, hand-not by any means always immaculatelyclean-to we lightupon some glowingcriticism of Homer, or some wear a scarf a horse-shoein form, remarks huge pin, usually stinging uponSchopenhauer; or he expatiatesupon and a colossal watch-chain-fromwhich hang all manner the of or Tschudi's 'Fauna of the psychology sleep, Alps,' of charms for good luck and against the iettatura(evil or 'Judaism in Music.' Then he is comparingLondon After the usual introductionof the members and or eye). Moscow, Paris and Naples, or Berlin and Rome. of the each one the stereotypedthing- Later he is to mercilessridicule the company, saying holding up 'opera- how glad he or she is to be singingwith such an arrayof mongers,'as he designatesthe once-popularopera composers artists-therehearsal The donna seats like or great begins. prima Rossini, Auber,or Boieldieu,and even the German herself the director(if thereare two of the former,one who him a first by Spohr befriended not little and was the on each side of him),the men standingabout waitingfor to his Dutchman.' But it is when produce 'Flying theircues to approachthe pianoforte. It will be unusual he analysesand explainsthe principalcharacters in his own if at the commencementof a jrova the leading lady worksthat the musicalreader is mostheld. or the does not complainof a slight indisposition. I mustsqueeze in a paragraphor two to show the reader ' the 'I arrivedlate last what 'Tristan' Caro laestro,' pleads former, night was to and Mathilde aftera of twelvehours, and feel knockedup Wesendonck. In his Venice under journey quite diary, date of in You will be won'tyou? '-at the October he writes: consequence. indulgent, 12, 858, same time lettingone of her bejewelledhands rest lightly a meant to be 'I shall now returnto to let the upon thatof the director, smile, irresistibly "Tristan," deep heraction. the Maestro art of soundingsilence there speak for me to thee.' bewitching,accompanying Usually is fartoo old a birdto be caughtwith such chaff,but if he knowsthe he her to From Paris some threeyears later he writes: lady's capabilities permits go through her part sottovoce, otherwise he remarksdrily, 'My dear ' The productionof the " Tristan" still remainsmy Madame, if we are goingto rehearse,have the kindnessto eye's chief mark. That once successfullyeffected, I sing out, or we shan't get along at all.' The result is have not much more to do on this earth and would one of two things. Eitherthe singer(male or female) has gladly lay myself to sleep beside Master Cervantes. merit,the indispositionbeing all humbug; and this being ' For my having written "Tristan" I thank you from so, having sung out' and showntheir capability, all goes my deepest soul to all eternity.' well. In the alternative,the directorrises, closes the pianoforte,and thesinger isprotestato (declared incompetent). an artistcan Again, from Venice: Such a slightis perhaps the greatest receive, and a singerof only mediocre value will never submit ' Here will the " Tristan " be completed-a defiance withouta vigorousprotest against a verdictof the kind, to all the raging world. So be it-Sir Tristan-Lady leaving no stone unturned to get it reversed. Most Isolda-help me. From here shall the world once performerswho are not celebritieshold strong cards in learn the sublime and noble stress of highest love, the their hands to avert a protesta,in the form of letters plaints of agonising joy. And august as a god serene of praise, &c., from musicians of note. How such and hale shalt thou then behold me back, thy lowly documentsare obtained is in some cases a mystery, friend.' and it is not our business to inquire.into the means E

This content downloaded from 128.235.251.160 on Sat, 17 Jan 2015 16:39:55 PM All use subject to JSTOR Terms and Conditions 634 THE MUSICAL TIMES-SEPTEMBER I 1920 resortedto. If a protesta is imminent,these valuable The firstorchestral rehearsal is ordinarily'called' for documents are produced, when, confrontedalso with 12 o'clock, and lasts till about 3.0 or thereabouts. Half the relations, or friends, who miraculously spring an hourprevious to the hour fixed,all the band partsare fromno one knows where, the directorand impresariodistributed, usually by the prompter,on the desks of the experience an unpleasant half-hour. In the case of a players,and he is responsiblefor any loss of such afterthe lady a husband, father,brother, or more commonlya final performanceof an opera. The performersarrive fiancd,takes up her cudgels,and interviewsthose who have tardily,generally taking the utmostadvantage of the legal dared so to humiliatean artistof such standing. Is the half hourallowed forthe differenceof clocks,the verylast managementaware thatin England, France, Russia,Spain, to arrivebeing the director. The stage-manageris alert to and indeedevery European country(not to mentionevery note any late-comer,inflicting a fine of fromtwo to five corner of America) she has had colossal success? Has lire-which, however,is rarelypaid. The directorshakes such a singercome to the presentcity, which was reallya hands and smiles amiably on all with whom he thinksit condescension,to be insulted? And be it known furtherworth while to be friendly,for even such an importantbeing as that a splendid contractfor the Scala and San Carlo of he cannotafford to set at naughtall thatare underhis baton. Naples was refusedto keep faithwith the presentmanage- Ascendinghis throne,he exclaims,' Gentlemen,please take ment! Shall the diva be declared incompetentfor a your places,' which in the case of a fixedorchestra is a slightcold? As ifsuch cannothappen to anybody. A few superfluousadmonition, all themembers being accustomed to days' rest and care, then will be heard somethinglike a their posts. When a directoris engagedin an important voice. Such notes! Finally the impresariois inclinedto theatrefor the first time, he usuallyaddresses a fewwords to givethe singeranother chance, provided the Maestroagrees. the membersof his orchestra. One I have in mindinvariably Generally mattersare adjusted in this way. The singer ended his speech with: 'I have the honour to direct the interviewsthe director,who, after considerable manceuvring, first orchestra in the world' (pause), 'so it is said' (pause; consentsto give his valuable aid and run over the part the and then,drily)-' We shall see !' The rehearsalproceeds artisthas been engaged for, before another trial with the moreor less rapidlyaccording to the difficultiesof the score, company,and afteran intervalof a fewdays forthe cure of or the familiaritythat the orchestramay have with it. the 'slight cold.' Frequentlythe whole matter is an OftenI have assistedat such a rehearsalwhen in two and understandingbetween impresarioand director,and ends a half or threehours no moreheadway has been made than by a nice little sum findingits way into the latter's one Act, and not infrequentlyonly half of an Act. I pocket. In these circumstances,if the performeris heard a celebratedold chefd'orchestr-e once say: 'We are really unfit,to sing the part she is engaged for, there forthe composerwhat light is forthe painter, but sometimes is no hope for it but to allow an appearance,and let the the light we are seeking we alone know how much work public judge, which is not oftenat faultin spite of paid and patience it costs us to find'-and his wordswere very claques, &c. It may be remarked in passing that significant. rehearsalsnowadays with the pianoforteare limited to a few, and one cannot help comparingthis procedurewith that of the past, taking as an example the occasion of The prova genzerale,or dress rehearsal, which imme- the evening prior to the general rehearsal of Verdi's diately precedes the first performanceof a new 'Macbeth' (the'two chief parts to be sustainedby two of opera, or an elaborate work which has not been the greatestsingers of the day), whenthe composerinsisted mountedfor some time, should in all essentialsbe the on theirgoing through the famousduet of the fourthAct same in execution as a premit-e. But this is seldom for the hundred andfiftieth time! the case, for several reasons, one being the desire of the Envy and jealousyare two qualitiesthat seem inseparable impresariothat the opera shall be launched with as little fromthe theatre,and when revealed by rivalprime donne delay as possible,he rarelyconsidering the ventureas other are not easilyto be matched,and certainlynot surpassed, thana meansfor making money, and not caringa jot about by any other mortals. I will close this portion of my the artisticside of the business. To fill his pocketsis his article by citinga case of which I was a witness. Some one aim and object. I do not pretend to assert years ago it was decided to mount Meyerbeer's 'Les that there are not some honourableexceptions, but these Huguenots' at ----- , a strong cast being engaged. are few and far between. These drawbacks, along with The dramatic soprano was going through the great scenic or lightingeffects not workingas desired,are some love duet of the fourth Act when the impresariowhich militateagainst a final rehearsalbeing like a first appeared adorned with an immense gardenia in his performance.I will set beforethe readeran incidentthat button-hole. Not far from the pianofortewas seated comesto mymind, which happened a fewyears ago during the light soprano engaged for the part of the Queen, theprolva generaleat one of the leading theatresof Italy. who, on seeing the impresario,went towardshim and The firstAct of the opera was just terminating,all having entered into conversation,the two retiringto a remote gone swimminglyso far,when an unfortunateplayer in the corner in order to chat more at their ease. After a orchestracame in at the wrongmoment. ' Stop,' shouted short time, at most five minutes,they came forwardand the conductor,striking his desk furiouslywith his baton, approached the instrument.Gradually the voice of the and turningto the culpritthe followingaltercation ensued. dramatic soprano diminished,she grew pale, and with a 'What are you doing there? Where is your head?' gasp or two burstinto hysterics. The consternationof all demandedthe iratechief-and then, forciblyand volubly, can be All to or learn 'You had betterlearn to read music and directionsbefore present imagined. attempts soothe, ' the cause, proved in vain. When somewhat recovered, you pretendto play in a decentorchestra.' As a matterof the lady seized herfur boa, and, risingto her feet,with her factI probablyread music better than you do,' was the retort. eyes ablaze, exclaimed,'I have never been so insultedin 'You are an idiot,' retaliatedthe conductor. ' The idiotis all my career. To think that under my very eyes my yourself,'was the answer. Beside himselfwith rage, the impresariodares to presentto a singerof the secondpart conductordescended from his desk, and, withclenched fists, [verymuch emphasised],flowers, in preferenceto his prima made forhis adversary. At oncethere was general confusion donna. It's monstrous,and I will not put foot in the theatre in the orchestra,all the players rising to their feet to again till I have received ample apology,' and with a last interposebetween the belligerents,those present in the look that should have killed the two culprits, the offended stalls (the pressand friendsof thecompany) rushing forward diva flounced out of the place. Alas ! only too true was her to intervene,while to add to the dismaythe prima donna statement of the flower, for the outraged dramatic lady had took the occasion as a good one to faint, whereat seen, as the manager and light soprano emerged from their the tenor, baritone, and bass carriedher to a convenient corner, that the gardenia of the former had found its way sofa while the rest of those on the stage wildlycalled to the bosom of the latter. It may be called to mind, for the doctor of the theatre. The manager,who had however, that the part of the light soprano in 'Les witnessedthe whole episode froma box, descended pre- Huguenots' is in its way quite as important as that of the cipitatelyto aid in appeasing the anger of the conductor, dramatic soprano. who, under the combined effortsof those around him, graduallycalmed down and reascendedhis throne,while the prima donna thoughtit opportuneto returnto her senses,

This content downloaded from 128.235.251.160 on Sat, 17 Jan 2015 16:39:55 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-SEPTEMBER I 1920 635 and in a patheticvoice declared herselfready to go on. 'All's well thatends well ' seemedapposite at thisjuncture, IIuiic in theprovincec and to But the everythingpromised proceed smoothly. (BY OUR OWN fire,though subdued, was not extinguished. Scarcelyhad CORRESPONDENTS) twentybars been played when the conductorgave a sign to cease. Placing his baton on his desk and crossinghis arms, amid a terrifyingsilence he roared, ' Stage manager!' ' Here I am,' responldedthat personage, presenting himself behindthe ' Send the was thedemand. A featureof special interestjust now is the changingof foot-lights. manager,' the 'What is it?' inquired the impresarioin anxious tones. pitchof the Town Hall organ,which has forsome time 'It is this: eitherthat '-indicating the formerpast been a vexed question. The followingdetails, as given gentleman in the culprit-' leaves the orchestraor I don't conduct. That is Birmingham.Posl, will thereforebe perused with all I have to say'-upon which he descendedonce more interestby readersof the Iliusical Times. a fromhis post,lighted a cigarette,and flunghimself into ' the of a is a his and Another Changing pitch largepipe-organ sonie- seat, crossing legs puffingfuriously. what delicate . . . and the builders half-hournow which was in to undertaking, elapsed, occupied trying will be engaged on theirtask for some weeks. The appease the ire of the two antagonists. At length the to organ, which is considered one of the best in the offendingplayer was induced profferhis excuses to his was builtin forthe of who extended his and consented country, originally 1834 purpose chief, graciously hand Triennial Musical Festivals,and it 64 to continuethe rehearsal. All resumedtheir places, but it had draw-stops was time forthe donna almost and 2,492 pipes. The cost was 3,000ooo.In 1890 it wasted, prima sang inaudibly, was entirely rebuilt at considerable expense. A and the organist(who had to accompanyher just then) and tubular action was four the master of the chorus (which latter should have pneumatic supplied, hydraulic engineswere installed,and an independentsolo organ sung with her) could not hear their cues, so chaos was was added to the combination At the the result. After over the two or three replace organ. trying passage presenttime there are no fewerthan 4,450 pipes in the times the conductoronce again lost patience, exclaiming, the in and if don't out it is for the organ, largestbeing 40-ft. length weighing 'Madame, you sing impossible three-quartersof a ton each. organ and chorus to come in at the righttime.' 'Oh! was the When the late Dr. Richter a familiarfigure in Aiaestro,' was reply, while a slight stagger seemed musical circles insistedon the fit was Birmingham he organ to indicate that another fainting imminent, at A whichdenotes the Continental what I have it's being pitched 435, 'after gone through impossible,quite pitch. This has provedquite unsuitablefor the wood- impossible.' 'Very well, when you can' (brusquely),'let wind instrumentsof the modern orchestral me know. In the to the English meantime,gentlemen' (turning combination,and the pitchis being adjustedto A 439. orchestra),'pI thank you. The rehearsal is at an end.' It is not known that as a conse- So he leftthe and the probably generally saying theatre, companydispersed. quence of I)r. Richter's insistenceon the Continental standardpitch it was necessaryfor Mr. C. W. Perkins (the cityorganist) to play fora whole season and part The emotionsattendant upon a premriereof importanceare of another,at certainconceits, in a key half a tone of littleknown, and less understood,by the mass thepublic higherthan that in whichthe musicwas written,while who elect to be presentat it. All theprincipals are dressed for other performancesthe organ was inevitablyout and ready long beforethey are required,and as the time of tune.' approachesfor their entrance on the stage a positive panic seizes manyof them,some breaking out intoviolent perspira- Active preparationsare now beingmade for the coming tion, while others' hands and feet become like ice. It musicalseason, whichwill startin September,and of which is extraordinarythe differentways in which artistsare the followingforecast of events will conveyan idea of what affected. A famousprimadonna--happily, still among us- we may expectto hear. on the nightof an important would be almost Mention has alreadybeen made (see August number)of premniore physicallyprostrated; another I knewwas sometimesseized Madame Minadieu's forthcomingMusical Matinees at the with deadly sickness. The tenorGayarri would furiouslyGrosvenor Room. Particulars of the Festival Choral smoke a dozen cigarettes before appearing, enveloping Society'sscheme have not yet been published,nor ofmany himselfin a veritablefog, while Stagno, another famous otherconcerts contemplated to be givenin the autumn. tenor, and invariably courteous, was capable of the The City of BirminghamOrchestra-of which Mr. greatestviolence to anyone who came in contactwith him Appleby Matthews is director and conductor-figures. before 'going on.' Scores of strangeinstances could be largelyin forthcomingevents. As alreadystated there will cited of the uncontrollablenervousness exhibited by be five Wednesday evening symphonyconcerts, eight performers.It is howeverworthy of note that no soonerare popular Saturday concerts,and Sunday evening popular they beforethe public than theirfear entirelydisappears. orchestralconcerts at the TheatreRoyal. I have known singers who have been acclaimed in a Mr. Max Mossel's series of concertswill be held at the town,and leftthe mostprofound impression of their voices Town Hall instead of at the Central Hall. Among the and talent, yet upon theirreturn a fewyears later, when it artistswho will appear are MM. AlfredCort6t and Arthur would be thoughttheir anticipation of renewedtriumphs de Greef,Misses Irene Scharrerand Myra Hess (pianoforte), would engendercalm, theyhave experiencedgreater panic andMadame Donalda, Mr. JohnCoates, M. MischaLeon, and than before,from the fear of having lost ground in the Mr. MurrayDavey (vocalists). Mr. Max Mossel will be interval. Such a feelingis positiveagony. solo violinistat the last concert,and Mr. Landon Ronald On the occasionof a new opera beingproduced its failure will conductthe symphonyconcert. orsuccess is generallydecided at thesecond Act. If thefirst Mr. Hubert Brown will give foursubscription concerts two Acts shouldhave conqueredthe public,it is rare that at the Town Hall, forwhich he has secured the following disaster waits upon the remainder of the work. operatic artists: Mesdames Rosina Buckman, Gleeson White, Jeanne Brola, Edna Thornton, and Messrs. Frank Mullings, CHAMBER MUSIC FOR AMATEURS.-Will 'F. H.' kindly Maurice D'Oisly, Arthur Jordan, and Robert Radford. communicatewith the Editor? His address has been The instrumentalists will include M. Arthur de Greef, lost, and a letteri, waitingto be forwarded. Mr. Victor Benham, Miss Irene Scharrer, Miss Margaret Fairless, and M. Zacharewitsch. The list of engagements The Competition Festival Record is not presented as a to this issue of the as it does also include the appearances of Miss Margaret Cooper and supplement MuzsicalTi'mes, the Joseph Lewis Choir. little more than duplicate the OA. T. reportof the Royal National Eisteddfod. The Beecham Opera Company will give a season of opera at the Prince of Wales Theatre from September 27 to The two hundredthmeeting of the Three ChoirsFestival October 23. The repertoryincludes 'The Mastersingers,' takes place at Worcesteron September5, 7, 8, 9, and io. which has not previously been staged here by this Company, A fullreport will appear in the OctoberlMusical Times. otherwise the selection is of the usual orthodox order,

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