[Met Concert/Gala] CID:29460
Grand Sacred Concert

Stabat Mater {23}
Boston Theatre, Boston, Massachusetts: 03/23/1902.

(Review)


Boston, Massachusetts
Boston Theatre
March 23, 1902


GRAND SACRED CONCERT

Le Prophète: Coronation March

Il Barbiere di Siviglia: Largo al factotum
Armando Seppilli: Serenade [encore]
Giuseppe Campanari

Leo Stern: Printemps [repeated]
Suzanne Adams

Henry Charles Litolff: Maximilian Robespierre Overture

Conductor...............Philippe Flon

[Leo Stern was the husband of Suzanne Adams.]


STABAT MATER {23}

1. Stabat Mater Dolorosa
Johanna Gadski, Carrie Bridewell, Andreas Dippel, Marcel Journet
Metropolitan Opera Chorus

2. Cujus Animam
Andreas Dippel

3. Quis est Homo
Johanna Gadski, Carrie Bridewell

4. Pro Peccatis
Marcel Journet

5. Eia Mater
Marcel Journet
Metropolitan Opera Chorus

6. Sancta Mater istud agas
Johanna Gadski, Carrie Bridewell, Andreas Dippel, Marcel Journet

7. Fac ut Portem
Carrie Bridewell

8. Inflammatus
Johanna Gadski
Metropolitan Opera Chorus

9. In Sempiterna Saecula
Metropolitan Opera Chorus

Conductor...............Philippe Flon

Unsigned review in the Boston Globe

SANG "STABAT MATER."

Mmes Gadski and Adams, Miss Bridewell, MM Campanari, Dippel and Journet as Soloists

The grand opera season was supplemented last night at the Boston theatre with a splendid performance of Gioacchino Rossini's "Stabat Mater." The infinite richness of melody which is ever associated with Rossini's name and work was well brought out by the opera company's thoroughly trained chorus and orchestra, under direction of M. Flon, and the performance was in every way worthy of the memorable fortnight of music which preceded it.

A fine audience, representative of musical Boston; warmly greeted Mmes. Joanna Gadski and Suzanne Adams, who, with Miss Carrie Bridewell, popular Giuseppe Campanari, Andreas Dippel and Marcel Journet, were the accomplished soloists. It was an occasion notable for spontaneity of applause, and all participants both sides of the footlights seemed inspired by it.
.
The concert opened with, Meyerbeer's stirring "La Prophete" march - of particular timeliness because it covered the confusion of late arrivals who hurried in from church services. Then followed, in the well-known Campanari style, his inimitably rollicking aria from Rossini's "Barber of Seville." For encore he sang the same number given at Sig. Rotoll's recent Symphony Hall concert - the Seppilli "Serenade," with pizzicato orchestral accompaniment, the singer being invisible.

Mme Adams, in a most becoming scarlet gown, sang the magnificent Leo Stern "Printemps" waltz song in a captivating way, being compelled, after repeating it, to bow again and again. The regal overture from "Robespierre," by Litolff, full of suggestions of "Le Marseillaise," closed the first half of the concert.

There was a grand rendition of Rossini's "Lamentation of the Blessed Mary," best known of all the "Stabat Maters," and the official ecclesiastical music for Passion Week. It was composed at the suggestion of his friend Agvado in 1832, for the Spanish minister Don Valera, and was not intended to be made public. Rossini had completed his last stage work, "William Tell," and as a sort of afterthought before an absolute retirement of more than 30 years, produced in outline the work which was destined to become one of the most famous associated with his name. Its first complete performance was at the Salle Ventadour on Jan 7. 1842.

Miss Carrie Bridewell herself almost took the contralto part announced for Mme Schumann-Heink, who was seriously indisposed. Miss Bridewell need not have had particular excuse made for her, so superbly did she sing the "Fac ut Portem," which necessitated her repeated acknowledgments of applause. She was as completely adequate to this exacting score as she has been during the past week in her minor but admirably-sung roles in "Carmen," "The Magic Flute," "Cavalleria Rusticana," "La Tosca" and 'Tannhäuser." She sang delightfully the second part in the "Quis est Homo" duet with Mme Gadski, and her peculiar bell-like quality of declamation in the close of the cavatina was one of the most artistic features of the whole concert.

M Journet, the capital Mephisto of last week's "Faust," gave with splendid delivery the "Pro Peccatis." Mme. Gadski sang, as always, with massive precision, and made a powerful climax with the high C at the close of her "Inftammatus" number. She has a remarkable habit of making a fourth syllable in "filio!' and of breathing explosively in the middle of the "Plangere," in the close of the "Sancta Mater" quartet- passages sung recently by Mrs. Kileski-Bradbury, in a far more satisfactory, if slightly less vehement manner.

Mr. Dippel spared himself the high D flat in the closing measures of his "Cujis Animam" tenor solo and otherwise seemed to be saving his voice, but this was pardonable in a vocalist who had sung about a dozen different exacting rôles during the past two weeks, The final "Quando corpus" quartet was omitted, and the excellent chorus closed the concert with their finely declaimed "To Him be Glory Evermore."



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