The coup de glotte (stroke of the glottis) : our discussion continued : an authoritative statement.

  • Gib, Charles.
Date:
1911
Catalogue details

Licence: In copyright

Credit: The coup de glotte (stroke of the glottis) : our discussion continued : an authoritative statement. Source: Wellcome Collection.

Provider: This material has been provided by The Royal College of Surgeons of England. The original may be consulted at The Royal College of Surgeons of England.

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    (Husic in tlx Provinces. LIVERPOOL. Quinlan Opera Company. rVNE of the most iuteresting events of the fortnight’s visit of this 's>' combination was the prodnotion in operatic form of Olande Debussy's early cantata “ The Prodigal Son. The subject has been ecclesiastically treated by Sullivan in his happiest vein, and Andr6 Wiirmser’s fascinating orchestral pantomime play on a modernised version of the parable revives memories of that olever French actress Jt anne May, who appeared in it with an able com- pany at the Royal Court Theatre, something over twenty years ago (the solo pianist being Mr. Landon Ronald). The vita'Ry of Wurmser’s music is proved by its frequent appearance in Sir Henry Wood's Queen's Hall programmes, and which from personal experience, makes a very effective suite. Debussy’s treatment of the episode is on Oriental lines and, indeed, a noteworthy effort, and there is no wonder that it gained for the composer the coveted Prix de Borne of the Paris Conservatoire. The cast demands three principals—the Father (namelees), mother (Lia) and son (Aziel) — undertaken on this occasion by Allen Hinckley, Vera Courtenay and Spencer Thomas—and a mixed chorus. The performance was very satisfactory, especially the orchestration, but would have been much more so if Tullio Voghera had moderated his frantic and ineffective gesticulations. Apparently an excitable tempera- ment is responsible for this, but there is no use indulging in wild air-beatiug if it produces no corresponding result, and it was ex- tremely irritating. Mr. Thomas made a consistent study of the Prodigal and his beantifnl tenor voice fitted the music admirably. Mr. Hinckley was also effective as the Father and Miss Courtenay was not behindhand. The choruses were well sung, the final one BUggestive at times of the Credo from Gounod’s “ Messe Solennelle” and forming a worthy pendant to an engaging work, the only fault being its brevity. The French biblical “operetta formed a some- what incongruous lever de rideau to Humperdinck’s three act opera “ Hansel and Gretel, a work that has not been heard in Liverpool for a good number of years. The first production here was under the auspices of the Carl Rosa Company and conductor- ship of Leo Feld in January, 1895, the name parts being imperson- ated by Mary Linck and Minnie Hunt; Peter and Gertrude being in the respective hands of William Panll and Madame Barth, Miss Meisslicger being the Witch. In the present instance Hansel and his sister Gretel were entrusted to Muriel Terry and Bettina Freeman, both of whom proved their competence as actor-singers. Arthur Wynn made a capital Peter, singing his ditty in Act I with great gusto and distinct enunciation. Vera Courtney was also very satisfactory as Gertrude, and Winifred Mayes inv.sted the Witch with a clammy repulsiveness that fully realised one’s ideas of such a creature. The important orchestration of the three preludes, however, was in each case deliberately spoiled by a number of ill- bred men who must needs wait until the curtain rose before they made for their seats, thereby causing much inconvenience and annoyance to others and incidentally testifying once again to the “cultivated manuers and “refined customs of a certain section of Liverpool “ upper ten.” The scenery was a pleasing feature and the deft management of the lights were highly commendable. In reviewing the highly important engagement which closed on Saturday night with Offenbach’s “Tales of Hoffmann I have been forcibly struck by one serious failure, viz., the indistinct pronunciation of the majority of the members of the company. With perhaps half a dozen exceptions most of the personnel might have been siDging in Choctaw, for all the sense one could make out of it. A great deal has been said and written of late years as to the desirability of “ opera in English, but when it is found that a first-class organisation like the Quinlan Company is deficient in such an important asset, what is the use of shouting about National Opera and Native Talent ? Either there is something wrong with the production of the voices or else the people do not know the text properly and as I note on the programme that a voice special- ist is attached to the company, it would be interesting to know where his office begins and ends. That it is possible to sing and be understood in English has been proved over and over again, so that there is no excuse whatever for a continuance of this cnlpable negligence. As regards the three conductors, Mr. Cnthbert Hawley Bhowed in “ The Valkyrie what he could do when he chose to exert himself, but the standard was not uniformly maintained in subsequent performances, a tendency to uudnly hurry the tempo occurring with unnecessary frequency. As regards Mr. Voghera I have already spoken, but a word of encouragement must be said in connection with Mr. Hubert Bath, who is not only an accomplished musician but shows signs indicative of capacity which only require practice to develop into a very useful asset. The Backhaus Recital. In view of the counter attractions afforded by the Quinlan Opera Company it says much for the appreciation in which Wilhelm Backhaus is held in this district that so large a gathering flocked to the Philharmonio Hall on Saturday, October 4. Commencing with a thoughtful reading of Beethoven’s Sonata in E flat (Les adienx, l’absence et le retour) the young artist then proceeded to a consideration of Schumann’s splendid Fantasia in C, Op. 17, a work exceedingly characteristic of its composer and in every sense worthy to occupy a place in a recital of such importance. Dedicated to Liszt the technical demands of this great contribution to pianoforte literature demands executive powers of very high degrte as well as introspective genius and, as in Backhaus’ case, mechanical facility is merely a means to an end his strongly illuminative talent shone throughout the three movements with steady brilliance. The Chopin selection embraced the Scherzo in C sharp minor, the Nocturne in D flat, four Studies, a couple of Vaises and, of course, the A flat Polonaise, all of which were phrased with ineffable ease and polished diction. The subsequent items included Debussy’s “ Jardin sous la Piuie which, notwithstanding the special pleading of the anonymous annotator, was not quite convincing. While it is admitted that the French composer has of late years created some very remarkable effects it is not always possible to take for granted everything he puis on paper as being recognisable impres- sions, and although in another pianoforte piece (“ R6flets dans l’eau ’’) rippling water and shifting lights are certainly suggested, he has not, to my mind, been anything like so successful in this example of his later period. Messrs. Rushworth and Dreaper were in charge of the concert arrangement.—W. J. Bowden, Our Corres- pondent. BOURNEMOUTH. Wagner Concert. Mr. Charles Clark. FOR some wholly nnaccountable reason, Wagner, a very triton among the minnows, has not his hordes of adherents in this curious town of Bournemouth. The delightful concert on October 18, devoted to his works, was performed to but a handful of people. One almost despairs of one's kind at such overwhelming evidence of sheer disinterestedness; it is also quite inexplicable, unless the suggestion that the town's musical culture is a sham is nearer to the truth than one cares to admit. The purely orchestral excerpts, all of which were capitally played under Mr. Dan Godfrey’s pains- taking direction, were as follows:—Fest March “ Tannhauser, Overture “ Tannhanser, Vor.spiol nnd Liebestod “ Tristan nnd Isolde, Prelude to “ Lohengrin.” Mr. Clark, who is better known as an excellent lieder singer, brought forward Hans Sachs' Mono- logue “ Wahn, Wahn, Recit. and Air “ O Star of Eve, and Wotan’s Departure and Fire Musio. The first and last lose much of their effect when divorced from their proper setting, bat this was atoned for to some extent by Mr. Clark's dignified interpretations ; the more lyrical aria he invested with an expressive charm that would have teen increasingly pleasurable if he had not sung out of tune tn places. * * * Classical and Symphony Concerts, Mr. Arnold Trowell’s Fine Playing The programme at the Classical Concert on October 16, consisted of the following items : Liszt’s Second Polonaise, Mendelssohn’s “ Rny Bias Overture, Symphony in F by Goetz, Grieg’s Lyric Suite, and Andantino and Allegro from Trio in G for violin, 'cello and piano (Op. 186) by Reissiger (played by Messrs. King-Hall, Zaelander and Quinton). There were a few dull moments at Sym- phony Concert, No. 3, on October 19 : but the lack of interest in the second half of the programme was mitigated by the excellent playing of the orchestra and a really fine performance on the part of Mr. Arnold Trowell. The concert began very auspiciously with a clear cut and well-balanced performance of Brahms’ delightfully buoyant, but happily unacademic, Academic Festival Overture (Op. 80). There was no lessening of the interest with Tchalisoveky’s feverishly lugubrious Tone Poem “ Francesca da Rimini ; Mr. Dan Godfrey and his orchestra here rose to great heights, the rnshing whirlwind of sound and the plaintive Francesca melody being depicted in quite a masterly manner. Next came Mr. Trowell’s splendid rendering of Jules de Swert’s 'Cello Concerto ; the music is of a frothily shallow type that usually emanates from performer- composers, excellently designed for the instrument and full of showy passages, bnt Mr. Trowell, with his admirable artistio insight, beautiful tone, and unhesitating technique, made the music appear of almost classic importance. His success was an unqualified one. Arnold Trowell was also responsible for the concluding item, which was a first performance at these concerts of his Symphony in G minor, Op. 39. The work is not a particularly effective one, either in design or in treatment; it is wanting in contrast, and the com- poser’s themes seem somewhat aimless—uninteresting in themselves and leading to nothing. The orchestration, also, is another weak point, too ranch use being made of the higher positions of the