MUSIC.
fßx Trebli Cur.!
The Cherniavskys. The Cherniavsky trio—Leon, Jan and Mischel—are once more with us. Tliese talented Russians were here about a year ago with Miss Maud Allan, an entertainment that was delightfully artistic in every way. Since then the Cherniavskys have beon touring Australia, and are visiting New Zealand onco more prior to leaving for America, where they will find the competition particularly keen just now. The United States is the one hold left open to German and Austrian artists, and they have been flocking over to Unclo Sam's country as soon as opportunity served, Europe being impossible as a touring ground where tho only music is the blast of the bugle and the thunder of the guns.
Stop, Thief l It is noticeable that as soon us any New Zealand artist becomes prominent the Australian papere claim that artist as their own. One very glaring case was that of Miss Rosinsi Buckmann, the talented soprano, who appeared both in concert and opera before she set foot in Australia, and wa6 hailed aB a singer with a future before Melbc "discovered" her. Miss Buckmann appeared in New Zealand as Suzuki in "Madame Butterfly" with Bel Sorol and Amy Castles, 'and no better exponent of the role has been seen in Australasia. Then when Melba found a place for her in the opera company she organised under arrangement with 3. C. Williamson, Ltd., Miss Buckmann was formally acclaimed an Australian, and since her successes in London the Sydney papers have commandeered the fair singer as one of their own. Why, when Miss Buckmann left Wellington for England her friends gave her a benefit which largely helped her to make the trip possible. It yielded nearly £200. She then returned to Sydney to fulfil an engagement to sine in "Samson and Delilah" with, the "Philharmonio." . She was there tendered another benefit, which yielded—nil. The latest instance of unwarranted newspaper naturalisation is a Sydney paper's mistake in calling Nora D'Argel an Australian. Australia does not know' Nora D'Argel, the operatic prima donna. She was the daughter of the late Mr. Charles Long, a New Zealand commercial traveller, whose home was in Wellington. Miss Norah Long (now D Argel) received her vocal tuition from Sister Mary Agnes, of St. Mary's Convent, one of the most successful teachers of singing Wellington hae known. Miss Long had then a very sweet and pure, but, not a very strong, voice, but whenever she sang at concerts, hers was a voice to remember. It had a tender timbre that appealed to the heart— it was, a voioe with a soul. Her training for grand opera was due to the extreme kindness of some English people, who made a protege© of Nora, Baw nor through her training in Paris, and eventually secured for her an opening in the artistic world, which she lias mado euch good ÜBe of. Now Nora D'Argel is hailed as an Australian!' Poor.little New Zealand!. Rudolf Berger Dead, The entire musical world was shocked last Sunday morning, February 2ft Cwys the "Musical Courier"), to heai of the siitlden death, from heart aifecwon, of Rudolf Berger, the noted Qerman tenor of the Metropolitan, and husband of Mme. Itappold, the soprano. The oouple had been married only about two years. At the "Gotterdammerung" P™ : rmance of the recent afternoon Ring' cycle, the deceased made his last publio appearance, and immediately thereafter became ill from an affliction thought to be muscular rheumatism, tut in reality was inflammation of the heart. His death resulted just nine days later in the presence of his wife, his stepdaughter, Giulio GattiCasazza, the... latter'B physician and others, There had been no indication of the gravity of the tenor's illness, ana too end came during a general conversation regarding the date of hi« reappearance at the Opera House. Rudolf Berger, who was about forty years old, began his musical studies at Brunn, Austria. Believing himself to be a baritone, he sang those roles at the Berlin Royal Opera for a while, until Oscar Saenger, the New York vocal specialist, heard him, and declared him to be a tenor. Berger at once began a course of study with Mr. Saenger, after which he returned to Berlin and successfully sang tenor roles at the Royal Opera there, his engagement as a tenor at the Metropolitan following in due time. "The Veil" In America. The Apollo Musical Club, under the direction of its conductor, Harrison M. Wild, presented, on February 22, at Orchestra Hall, for the first time in America, Cowen's "The Veil," and for the first time in the West the "Fortyeeventh Psalm," by Schmitt. A good sized audience was present, i and showed appreciation by long and vociferous applause, not only after the solo work, but after each and every choral selection. "The Veil" is rather a lugubri- ® oratorio. The music (says the Musical Courier") follows especially well the text and necessarily the melodies were written for the purpose of depression, and in this they excel. From the above remark it must not be taken that Cowen's music is not appealing to tho ear. On the contrary, many pages are filled with charm and originality. The Apollos again covered themselves with glory by their faultless interpre-tat-jon of the work, and to Harrison M. wild, as ever, goes first honours for the homogeneously good ensemble of the evening, and for his superb reading of the score, in which he was ably assisted not only by his chorus and soloists, but also by the Chicago Symphony Orchestra. The soloists were Leonora Allen (soprano), Frances Ingram (contralto), who made the hit of tho evening, Mr. Andrea Sarto (baritone), and Warren Proctor (tenor). Miss Rosina Buckmann was the soloist at the London Symphony Orchestra s concert at the Alhambra Theatre 01 ) February 21. The same afternoon, with the same orchestra, she was tho soprano soloist in part two of Rossini's "Stabat Mater."
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Dominion, Volume 8, Issue 2441, 21 April 1915, Page 11
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985MUSIC. Dominion, Volume 8, Issue 2441, 21 April 1915, Page 11
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