COURT SINGERS FROM BERLIN.

New Zealand Graphic, Volume XVI, Issue III, 18 January 1896, Page 60

COURT SINGERS FROM BERLIN.

TOUR OF NEW ZEALAND. SINGERS and musicians of eminence have several times visited this colony, but if we mistake not, no singers from the Imperial Court of Berlin have yet honoured this colony with a visit. On Friday evening next Frau Margarethe Von Vahsel and Herr Rudolf Schmalfeld, Court singers to the Emperor of Germany, will commence a tour of the Australasian colonies in Auckland. Thence they will work South, timing themselves to meet Australian engagements when the excessive heat of Victorian and New South Wales summers is somewhat abated. These two eminent singers are, we understand, travelling for pleasure. but do not object to mingle business with their recreation. Of their gifts and abilities there can be no question. As will be seen from the reproduction of Mr Falk's photographs, given herewith, the very beautiful p.rima donna is still in the first flush and glory of her youth, and that her husband is her contemporary. They come to us, therefore, in the very fulness of their power, and their appointment as Court singers at Berlin is assuredly ample testimonv that they must both possess gifts of no common order. The sweets of success have been lavished on both, and besides the favour of their appointment Frau Margarethe \on X ahsel has received other marks of roval appreciation, including a magnificent diamond bracelet presented by the Flmperor William, and Emperors do not give bracelets to every fair vocalist who sings before them. Germany is the home of criticism and music, and the musical critics of Germany write in enthusiastic terms of the fair prima donna. One Berlin paper remarks :— * At Kroll's Theatre last Saturday Fraulein von X’ahsel, Kammers angerin from Dessau, who made such favourable impression last year, began her starring engagement with Donizetti’s “ Daughter of the Regiment ” as Marie. The house was crowded, as the singer, who is as beautiful as she is celebrated, has last year won the approval of the theatre-going public, and thev were prepared to give her a hearty welcome. Fraulein von X’ahsel shewed herself this time, if possible, to more advantage still than at her first appearance. Her accomplishments were quite as much appreciated by the whole press as they were by last Saturday’s audience with their franticapplause. The critics all agree in praising her. The Kleine Journal says: “ When a suitable artist undertakes the chief part, we find this beautiful opera as fresh and delightful as it was a generation back. We make the acquaintance of one of the best in Fraulein von X’ahsel. In this opera gravity and humour are finelv displaved and these qualities are well reflected in this gifted artist. That she sang the pretty part exceedingly well in every way, proved another charm in her beautiful execution. In order to complete the aforesaid, we must add that Margarethe von X’ahsel managed the drum like a virtuoso, she succeeded in every thing ; the touching farewell from her ‘ fatherly ’ second regiment, and the humorous scene in the drawing-room of her strict aunt. The applause of the unusually animated audience was indeed genuine. Margarethe von X’ahsel had to re-appear several times, and everyone left the theatre more than satisfied.” ’ In the same way speak all the other papers. The Brunner Zeituna says : ‘ Margarethe von X’ahsel, a charming and genial young lady, of whom we have such brilliant accounts from Berlin, Leipzig, Magdeburg, Halle, Stettin, and Liibeck, will shortly grace our opera house. Hitherto it would appear, the voung artist has only favoured stages of the German Empire. The theatre at Brunn is the first Austrian stage, where she will appear, and, it is to be hoped, her brilliant performances will quickly seize the imagination and win the applause of our countrymen. Fraulein van X’ahsel will appear as the “ Daughter of the Regiment,” and as Mrs Fluth in Nicolai's “ Merry XX’ivesof Windsor.” ’ Respecting the part of Frau Fluth as rendered bv her at the Kroll Theatre the music reporter of the Berliner Volkuzeitung writes : ‘We rarely have met anyone who could so happily combine music and acting (very necessary in this part) as does this young artist. Either the singer, who relies chiefly on the arts of colorature, comes to the fore, or the actress, who with tricks of drollery seeks to tickle the palate of her spectators. This is not the case with Fraulein von X’ahsel ; song and play serve her onlv as means to her purpose, viz., to render the character of this merry wife of Windsor in the utmost perfect manner, just as the poet and composer have created her in perfect and cheerful harmony. She impersonates her in a manner we have seldom seen at Kroll's since Jenny v. Weber. It would be difficult and invidious to single out some parts of this splendid performance, as her rendering in everv particular is faultlessly done to the poet’s conception. Here the tone doesnot appear as a song by itself, but the perfectly natural expression of the acting person, and

this is real art, attained only by few. A palpable testimony of Fraulein von X’ahsel’s perfectly charming art has given no less a person than His Majesty, the actual German Emperor, himself who, to give expression to his approbation after her performance of Eva in Rich. XX’agner’s “ Meistersinger,” presented her with a valuable Diamond bracelet accompanied by the most gracious expression of approval.’ Speaking of a farewell concert given prior to her departure from Germany one critic says: * Fraulein von X’ahsel bade farewell at the concert here last night to the admirers of her art. As might have been expected, they had assembled in such great numbers that the concert room was filled to the last place. After a prelude of Beethoven's Sonata (C sharp minor), the concert-giver, dressed in white satin, and in her dark hair a wreath of white flowers as sole ornament, appeared and was received with great applause. She sang the grand air from “ Hans Heiliug.” and in such a perfect way that every listener felt deeply moved by it. It seemed to us as if we had never heard Margarethe von X’ahsel sing so sweetly, so touchingly as last night: it was as if the artist wished to show once more to her faithful admirers what they were about to lose, and greatly were her hearers delighted. The more this pleasure was expressed in loud ovations, the more liberal became the grateful artist by singing several extra songs.’ But perhaps the most splendid testimony is this which comes from the most eminent musical critic in Berlin : —* The Kammersiingerin (singer to the court), Margarethe von X’ahsel, a favourite with our theatregoing public, has once more distinguished herself and raised the reputation of our theatrical management by her great success at Berlin last summer. A starring engagement crowned with such extraordinary success at the Kroll Theatre, means already something, if we consider that on that stage, German stars of first magnitude used to meet during the summer season. It was quite natural that people’s attention should be directed to the distinguished singer, and it was not surprising at all that Fraulein von X’ahsel received a very advantageous call to the royal theatre at Munich. XX'e hear, however, that the artist declined the

offer, for the time being, at the special wish ot the ducal family, and so the highly esteemed lady remains at our court theatre, and, let us hope, for a very long time. This excellent artist has lately concluded a successful engagement at Stettin, one result of which being that she found herself giving more performances than she had agreed to give. XX'e cannot abstain from mentioning a critique of this splendid performance. ’ The Stet finer Zeitung writes about the ‘ Merry XX’ives of Windsor’ : —‘ With regard to our new star, Fraulein von X’ahsel, we must state that from the outset she conquered everybody. Her song and play are of the most winning order, and along with it, she shows great character and force besides being always correct.’ Commenting on her performance of a very difficult role the Staats-Anzeiger writes : —‘ At the last performance of Gounod’s “ Margarethe,” it was clear that this beautiful opera stood as high as ever in the estimation of its admirers and the beauty of its passages was enhanced, if possible, by the skill of the executor. Fraulein von X’ahsel, who sang the Margarethe, gained a brilliant success with the jewel-air, the last part of the garden and cathedral scene, but especially with the finale, where her delicate mezzo - voce, as well as the brilliancy and the force of her soprano, were of great use to her. The tone of this beautiful voice was not only technically correct, but sounded with so much feeling, that skill and form blended into delicious harmony. Yet there is still something else which is of great importance in the part of Gretchen : Fraulein von X’ahsel’s voice possesses the charm of youth, of undiminished vigour, and loveliness. No wonder that she produces in such parts a very great effect. It is above all the true feeling animating the delivery of each tone, and the improvising faculty, so peculiar to the artist, which allows everyone of her creations to appear as the spontaneous outpouring of a warm and passionate nature and therefore enraptures all her hearers. XX’e see in this artist the possession of great natural gifts carefully cultivated and developed by patient study.’ Professor X’ogel, a man whose name is known in musical circles all over the world, highly praises Fraulein von X’ahsel's Carmen, and speaks also in the follow-

ing warm terms of Herr Schmalfeld :—‘ Her partner, too,’ he writes, ‘ Herr Schmalfeld, as Don Jose, had perfectly well conceived and executed his part. The affectionate sergeant, who thinks very tenderly of home and his mother, becomes by degrees a passionate and savage bandit, who ruins himself and his sweetheart by his blind jealousy. But Don Jose was a splendid creation of Herr Schmalfeld as well in song as in play, and quite an even match for Fraulein von Vahsel's Carmen.’ The press, indeed, accord to the tenor praise as high as that bestowed so liberally upon his wife. Speaking of a performance of Stradella, the Kieler Zeitung remarks : ‘ The performance was greatly improved by the debut of a tenor, Herr Rudolf Schmalfeld, from Neustre. litz, a pupil of the Baryton von Milde of Hanover. The cordial reception he met with on the part of the audience was the more striking, as the applause had not been called forth by any local patriotism. The voice proved to be well trained, and especially rich in the mean tenor. The fascinating sweet voice, the touching execution produced a refreshing effect on his hearers. A clear start, a scrupulously correct song, where each note has been well studied, and a distinct pronunciation of the words complete the accomplishments of this voung tenor. The air of “Salvator Rose” was a complete success.’ And so forth and so on. Columns of extracts might be given, but enough has been said to show that a treat of no ordinary kind awaits the concert-goers of this colony.