Music and Some Highly Musical People Part 17

This they did before an audience of eight hundred people at the Metropolitan Theatre in Sacramento, Cal., April 22, 1867. On this occasion, and on others afterwards in San Francisco and other places in California, their efforts were rewarded with grand success: the musical critics and the press awarded them unstinted praise, and even p.r.o.nounced them "wonderful." As a sample of all these comments, I here append the following from "The San Francisco Chronicle:"--

"Their musical power is acknowledged; and those who heard them last evening were unanimous in their praises, saying that rare natural gifts would insure for them a leading position among the prime donne of the age.

"Miss Madah has a pure, sweet soprano voice, very true, even, and flexible, of remarkable compa.s.s and smoothness.

Her rendition of 'Casta Diva,' and her soprano in the tower scene from 'Il Trovatore,' and Verdi's 'Forse e' lui che l'anima,' [Transcriber's Note: 'Ah, fors'e lui che l'anima']

as also in the ballad, 'The Rhine Maidens,' was almost faultless, and thoroughly established her claims to the universal commendation she has received from all the connoisseurs in melody who have heard her.

"Miss Louise is a natural wonder, being a fine alto-singer, and also the possessor of a pure tenor-voice. Her tenor is of wonderful range; and, in listening to her singing, it is difficult to believe that one is not hearing a talented young man instead of the voice of a young girl. Her character song was one of the greatest 'hits' ever made; and henceforth her position as a favorite with an audience is a.s.sured."

After these concerts they retired to severe study, preparatory to making a tour of the States. Finally, deciding to proceed towards the East, they sang to highly-appreciative and enthusiastic audiences in several of the Western towns and cities. At Salt-Lake City they were received with the very highest marks of favor. On the 12th of August, 1871, they gave a grand concert in Salt-Lake Theatre, offering some five operatic selections. At this concert, and for some time afterwards, the ladies were a.s.sisted by Mr. Le Count, a baritone singer of excellence. I append the following scientific a.n.a.lysis of the music used, and the manner of its rendition on the occasion just mentioned. It is from the pen of Professor John Tullidge, and is copied from "The Deseret News:"--

REMARKS ON THE HYERS SISTERS' CONCERT ON SAt.u.r.dAY, AUG. 12, 1871.

BY PROFESSOR JOHN TULLIDGE.

"A portion of two scenes from the first and second acts of Donizetti's opera of 'Linda di Chamounix' occupied the whole of the first part of the concert.

"The first act opened with a _recitativo e cavatina_, selected from No. 4, on the words, 'Ah, tardai troppo e al nostro favorito.'

"The _recitativo_ is in A flat major. But there are no flats or sharps in the signature: these are placed before the notes as required. When the transitions are rapid,--as they are in this piece,--it renders the reading very difficult in securing correct intonation. But notwithstanding these frequent changes, and intricate skipping intervals, Miss Anna accomplished the difficulty with ease, and perfectly in tune. The rapid cadence on the dominant was artistically rendered.

"The aria follows with an allegretto in three-four time, and the execution in this division is very rapid; but the vocalist was equal to the task, and performed it with ease and grace. But the most astonishing feat was the cadenza in the cavatina: the singer, instead of closing on D flat,--fourth line of staff,--took an improvising flight, catching in that flight an appoggiatura grace on the note E flat above the lines; and closed with the D flat, a note below on the pause.

"This was a dangerous flight for one so young: nevertheless, the note intoned was clear, distinct, and bell-like.

"Miss Emma sang the alto in the 'Caro Ballato' with Miss Anna, in a duetto on the words, 'Qui si pria della partenza.' The alto takes the notes a sixth below the soprano, and her deep mellow voice produced a fine effect.

The next is a _recitativo_ by soprano and alto. In this division the intervalic skippings are difficult; but they were correctly interpreted. The alto then takes up a larghetto in six-eight time, key D minor. This portion required much _con dolore_ expression, which was delivered with much tremolo effect by Miss Emma; and her rich, pure contralto voice in the low register told well. The scene finished with a duet by the two sisters, who were warmly and deservedly applauded.

"The scene in act second contained much of the same forms of execution as the first, with the exception of a brilliant duetto in D major, which reminded me of that beautiful florid piece, 'Quest est h.o.m.o,' from Rossini's 'Stabat Mater.'

"This duet not only requires fine voices, but rapid execution also, or the rendition would be imperfect; but the sisters gave a charming interpretation to the piece.

"Part third commenced with the 'Magic-wove Scarf,' from Barnett's opera of 'The Mountain Sylph.' Barnett is a fine composer, and was theoretically educated in Germany; and, on his return, he composed the above opera. The musicians in England were much surprised when this clever author left the field of composition, after he had received such popularity from his opera of 'The Mountain Sylph;' but the author was obstinate, and I believe he was offended with some remarks of the critics.

"The scene of the scarf is laid in Scotland. The mountain sylph is a fairy, and falls in love with the tenor, a young Scotchman. The baritone is a Scotch necromancer. The young lover, fearful of losing his fairy love, appeals to this demon for aid; and he, wishing to destroy the power of the fairy, gives the young man the 'Magic-wove Scarf' to throw around her. He told him that the scarf would secure her. He was enticed, and threw the scarf around; but, the moment it touched her, she became spell-bound, and is supposed to die, but is released by a fairy of superior power.

"The trio opens with a fine baritone solo; and, considering Mr. Hyers is not a professional singer, the part was creditably rendered.

"The tenor, Miss Emma, conveyed the author's meaning truly; and her imitation of that voice took her to the F sharp below the staff. This note was intoned with perfect ease.

"In Miss Anna's part there are some beautiful rouladial pa.s.sages, which were delivered by the young lady smoothly and distinctly; and, when she became spell-bound by the scarf, her _espressivo_ and _energico_ were fine.

"The trio throughout was creditably performed, and was loudly applauded by the audience.

"'Brighter than stars soft gleaming,' from the opera 'Il Trovatore,' is a fine composition abounding in _espressivo_ and _bravura_ pa.s.sages: the compa.s.s is also extensive, requiring great range for a baritone voice. The piece was rendered with credit by the young vocalist Le Count.

"A very choice selection from Donizetti's opera of 'Lucia di Lammermoor' followed, and was sung by Miss Anna Hyers. The first line of the English words is, 'See, 'tis the hour: how sinks the sun!' The whole of this movement is in the _affetturoso con amoroso_ [Transcriber's Note: affettuoso e amoroso] style; and in order to render such a theme effective, as love without hope, but still hoping, the singer must throw a vast amount of pathos into the subject to secure a fine interpretation; which rendition by the artist was all that could be required. The second movement is in D major. The words of the princ.i.p.al line are, 'Grow dark, yes, love's pure flame grow dark, like earthly fire.'

"The author has interpreted these words with rapid s.e.xtoles (groups of six notes) and triplets in difficult intervalic skips, and finishing with an intricate florid cadenza in seconds and thirds. Many pa.s.sages of the same form may be found in Handel's 'Messiah.' The young lady not only glided over these difficulties with ease and grace, but also brought out the _espressivo_ so necessary for the effective rendition of this division. The remaining portions of this fine composition are much varied with rapid executions; and the compa.s.s of voice required for effect is extensive, ranging from C above the staff to C below. Every point was delivered by the young vocalist with purity and force.

"I believe this young lady's compa.s.s of voice is from E flat above the lines to A below; having at her command the soprano register, the mezzo-soprano, and a portion of the alto.

"Both of the sisters sing in the Italian with fluency and with correct p.r.o.nunciation.

"'Par Excellence,' sung by Miss Emma, was a complete triumph with the audience, and received a triple call. This was a great compliment after Lingard, the original. But it was the lady's pleasing manner that took the comic-loving patrons by storm: hence the third encore."

After the performance described by Professor Tullidge, the Misses Hyers were tendered by the leading citizens of Salt-Lake City a complimentary benefit. The following correspondence, taken from "The Deseret News," explains itself:--

SALT-LAKE CITY, Aug. 14, 1871.

TO THE HYERS SISTERS,--We the undersigned, residents of Salt-Lake City, having witnessed your performances during your recent engagement at the theatre, and being willing to acknowledge talent wherever found, as a slight testimonial of our esteem tender you our influence and a.s.sistance in making a remunerative benefit, to take place at the Salt-Lake Theatre at such time as may suit your convenience.

JOS. R. WALKER.

A.W. WHITE.

WELLS, FARGO, & CO.

(Per C.F. SMITH.) JNO. CUNNINGTON.

J.B. MEADER.

M.H. WALKER.

A.M. MORTIMER.

JNO. MANN.

S.A. MANN.

A. BENZON.

D. CANDLAND.

J.C. LITTLE.

TILDEN & LAWRENCE.

B.G. RAYBOULD.

JAS. SMITH.

N.S. GOULD & SON.

SEIGEL BROTHERS.

TAYLOR & CUTLER.

H.O. PRATT.

HOOPER, ELDREDGE, & CO.

WILLIAM M. JOHNS.

ROBERT K. REED.

CALDER BROTHERS.

PROFESSOR THOMAS.

JOS. J. DAYNES.

HUGH W. McKEE.

R. ROSS.

THOMAS FITCH.

JNO. T. CAINE.

W.F. ANDERSON.

MARK CROXALL.

J.F. HAMILTON.

CAPT. SHAW.

G.W. LEIHY.

F.T. WISWELL.

TEASDEL & CO.

H.S. BEATTIE.