Richmond Palladium (Daily), Volume 37, Number 172, 24 May 1912 — Page 10
THE RICHMOND PALLADIUM AND SUN-TELEGRAM, FRIDAY. MAY 24, 1912.
A BIG CROWD ATTENDS THE
Princess is a Shop Keeper
MAYFESTVAL
Director - Earhart, the Orchestra, Chorus and Soloists Were Given Ovations by the Audience.
(Continued from Page One.)
Understood, and the use of the instrubnentB is consequently verbal almost in ; (translation. The brilliant introduction with a fantfare from the brasses and drum followed with the full thematic development iby the entire orchestra, served, also, las a spectacular opening for the Festi.'val, for the timbre of the instrumental body was at once made apparent, through the harmonic swell of its parts in one volume of sound and its calibre at once established. Confidence is Shown. It was in the latter that the orchestra last evening manifested its adVance in the t sureness of its attack, the confidences of its individual and ensemble performance, the serenity of nssuredness. It has servedits initiate. It commands the consideration accorded kindred professional bodies. This was distinctly demonstrated in Its presentation of the familar "CarMen" suite, whilch was heard last winter, the eclat of 'last evening's performance surpassing: that of the original. The story of "Carmen" taken from tMerimee's story for Bizet's opera is .familiar to a varying public and of its presentation by the Richmond Symphony orchestra the writer cannot do (better than to quote her former commentary: The orchtraI arrangement of Bizet's famousopera was. made by Fritz Hoffman and included six movements, (Introduced, by the march measure "which precedes in the operatic presentation; the violin solo (reproducing the song of -Michaela,Don Jose's sweetheart whomhe discarded for Carmen), played by Fwederifck K. Hicks, the orchestra's concertmeister, occurring in 'the third movement, Mr. Hicks's instrument carrying, the plaintive melody, ' with the oboe and French horn heard in complementary solo, J. R. "Watsomplayine the former, Charles H. Groce,the lattetr . The "Toreador Song" In the fourth imovement the familiar "Toreador vSong" was heard with the trumpet, placed1 by Mr. Robert Wilson, dominating, jthe tambourine introduced In the last movements in which the
:' ( y - I W : , Z . , ' i : ' M- r M'S 4-'-i - A" i '
Princess Ghika, formerly Margaret Kelly, Irish heiress, whose husband spent her fortune in an effort to place her on an Albanian throne, has opened a unique shop in Paris for the benefit of Roumanian peasants who are talented, for the purpose of exhibiting and selling their works of art. The shop is under the direct patronage of Minister Lahovray, of Roumania, and Princess Ghika has brought to her assistance all the French nobility in Paris, who will conduct the entire work of her new shop.
singing and dancing of Carmen herself supplies a major part of the motif. The orchestra gave a felicitous interpretation to Bizet's sensuous, brilliant and colorful score it possessing that degree of dazzling color called in the painting art "hot" for it should be remembered that '"Carmen" treats of material passions, of violent, uncurbed and primal animal emotions that neither the story as originally written by the French novelist, Merimee, nor that included in Bizet's score, is either mystic or symbolic. That Bizet comprehended this and that it was, in short, the animus of his musical inspiration, is the explanation of the popularity and appeal of the opera's score. There are no ana-
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chronisms between the story and its musical interpretation. Mr. Earhart's reading last evening as formerly, was tempered by these consideration of origin and motif and the orchestra's interpretation was, therefore, convincing and realistic. Miss Jessie L. Hopkins. The appearance of Miss Jessie Lynde Hopkins, who was one of the favorite soloists of last season, elicited an overwhelming reception from the
audience, repeated at the close of her I
aria, "My Heart is Weary." from A. j
Goring Thomas's "Xadeschda," which was sung with the subtlest appreciation of its "welt schmeri" motif and which displayed the qualities of Miss Hopkins's powerful contralto, in both its richness, range and climatic possibility. The climax mt the evening was in the choral and orchestral presentation of excerpts from Grieg's uncompleted opera "Olaf Trygvason," whose book was written by the great Norwegian novelist and poet, Bjornson. whose erratic temperament prevented the completion of this, one of the greatest of the compositions of the Norwegian composer. Greig, in this operatic fragment, is not the Greig of the inclusion on the last Symphony program. That was the Greig of the lighter, more tinkling, more saccharine art he who. with exquisite poetic conception, skims the bloom from the rose and serves it up in the faintest nuances of sound. Who evolves romance into melodic harmonies. Whose passions are but surface-deep. But through "Olav" is interpreted a contradictory artistic conception. In this musical record of the activities of one of the early Viking kings is heard, also, primal passion, but of a different character from , that set forth in "Carmen" whose passion is
the flash In the pan, the fierce heat of
the Latin sun succeeded by the icycold of its shade, the purely animal manifestation. "Olav" is the passion of religious ex
altation, of protesting fury, of fanatical loyalty, of the inviolable, of the emotional deeps, of the psychology of a race. In that portion heard last evening was the wild protest of the Viking against the demolition of his sacredaltars, against the attempt to submerge the religion of his fathers, against his conversion to an alien faith, and through the elements, which demonstrate their power at an instant when the protest has taken form in a celebration of "heathen rites" Olaf's defeat is joyfully, if mistakenly, acclaimed. The tremendous climatic force of Greig's score was demonstrated through both the medium of the instrumentalists and the vocalists. The almost continued use of the brasses, the basses and the drums lending a majesty to the text and forcing on the hearers the conviction of the versatile genius of the great Norwegian composer, many of whose other compositions are interpreted by the more lyric quality of sound. The chorus in this presentation gave a superlative exposition of its training and musical intelligence, its ensemble effects, its diminuendo and crecendo.
and its swell and subsidence of tone. Its confidence was as evident as that of the orchestra.
And at no time was its constant in
creasing musical erudition more evi
dent than at those intervals in the clashing of the passionate and exclamatory when the wailing of the suppll cants was interpreted through the staccato minors of the lighter strings and wood-winds to which the vocal rythym adjusted itself in a unity of sound. Carl Morris was heard in solo in this composition for the first time.and with peculiar impressirenees in his declamatory role of "The High Priest," this young baritone . having a voice of extraordinary vibrancy and penetrating power and of a distinctiveness of quality unusual as it is striking in tonal effect, and his further appearances are looked forward to with interest. Mi6s Hopkins sustained her reputation as dramatic contralto in her interpretation of the priestess recitative, the two professionals singing in the interpolated quartet numbers with
Mrs. Fred Bartel and Mr. Otto Krone,
of this city.
Mrs. Bartel in her solo numbers.
which preceded those of Miss Hopkins, was never beard to better effect.
her clear mezzo soprano being used with technical skill and a nice appreci
ation of the plaintive character of the text. The close of the concert was marked by great applause, Mr. Earhart bowing his acknowledgement repeatedly. The children's chorus and the or
chestra appeared in a varied program this afternoon, the chorus being made up of children from the Garfield School, and Mr. John B. Miller, the tenor, who is a favorite here, was the soloist. The concert this evening will close the series.
The Word -Strike. The earliest use of the word "strike In the sense of stopping work occurs In the London Chronicle for September. 17G3. In connection with a coal strike. This publication reports great suspension of labor In the Northumberland coal fields, and the colliers are stated to bare "struck oar for a higher bonnty before entering Into their usual yearly "bond." The time honored IHnstratlon of profitless labor, "carrying coals to Newcastle." appears to have received Its first slap In the face during this strike. The Chronicle reports that "several po of ' were brought from Durham to Newcastle by one of the common carriers and sold on the sand hill for ninepence a poke, by which he cleared sixpence a poke." London Chronicle, . Lev. We are oft deceived in lore, and oftener wounded, and oftenest unhappy; but after all. we love, and when we stand on the threshold of the tomb and turn about to look back upon the ground we have traversed It will be well if we can say. "I have suffered often. 1 hare been deceived many times, but I have loved. It Is I who have lived, therefore, and not a dream being created out of my pride and my
weariness." ueorge tna.
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