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The Daily record and the Dresden daily : 08.07.1908
- Erscheinungsdatum
- 1908-07-08
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- Jahr1908
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2 THE DAILY RECORD, WEDNESDAY, JULY 8, 1908. J8 734. BERLIN an IE The Arion Singing Society, of Brooklyn, N. Y., arrive at Bremen today on board the steamship “Barbarossa.” They will proceed to Berlin in a special train on the following day, after having been officially received in Bremen. On the same day 400 German-American gymnasts arrive on board the S. S. “Main,” on their way to the gymnastic tournament at Frankfort o. M. These visitors will also be accorded an official reception at Bremen. ~ *— The interest shown in the announced concert of the Arion Singing Society, of Brooklyn, N. Y., at the Philharmonic, is evidenced by the rapid way in which the seats are being booked. The profits will be handed over to Herr Oberbiirgermeister Kirschner, to dispose of for a good purpose. 4c The programme of the Arion Singing Socie ty’s concert on the 9th of July in the Philhar monic is as follows:— (1) “Das deutsche Lied” P. Fassbender. “Rose im Tal” F. Hummel. (Arion.) (2) “Die Allmacht” Schubert. (Lilian Frank and Arion.) (3) Robin Adair, arranged by . . Dudley Buck. “Abschied hat der Tod ge- nommen ” Nepler. (Arion.) (4) Carmena Walzer Nilson. Last night Kjesulf. (Manhattan Ladies’ Quartet.) (5) “Das alte Miitterchen” .... Spicker. Magdalena A. Claassen. (Arion.) (6) Parting \ A niaassen “Ganz im Geheimen”) • * • • A ' waassen - (Louise Scherhey.) (7) Maiden, I sung to thee .... J. C. Macy. (Arion Quartet.) (8) Old Black Joel ^ , Dixie Land / Forster v. d. Stucken. (9) “Des Glockentiirmers Toch- terlein” C. Rein taler. (Louise Schippers and Arion.) (10) “ Pilgerchor ” from Tann- hduser R. Wagner. (Arion.) — 4c — New Royal Opera. In the second perfor mance of the Gura Opera we heard “Don Juan,” with Franzisko d’Andrade and Frau Lilli Lehmann. Gura was well advised in engaging such celebrities, otherwise the success of the performance of Mozart's opera might have been doubtful. As had been anticipated, every seat was booked. To say any thing about d’Andrade’s Don Juan is superfluous, because he is and remains steadfast in the excellent representation of his role. D’Andrade’s voice was of remarkable freshness, and unequalled flexibility characterised his movements. The frantic applause which induced the actor to repeat the “Champagner- lied,” spoke for itself. No singer can equal him. On the other hand, I must say that Frau Lehmann’s Donna Anna was full of nobility, and dazzling by reason of her refined art of singing. These ad vantages, however, were prejudiced by want of voice in the middle notes. I am not at all astonished at this, considering the lady is over 60 years of age. I only wonder that the audience still finds her voice youthfully fresh. In this case we do not agree, and I cannot help asserting that the once excellent voice of Lilli Leh mann is beginning to relax in accordance with Nature’s laws, to which all human beings) are sub ject, and Lilli Lehmann is not a goddess, as so many seem to believe. Compared with these two celebrated “guests” the rest of the ensemble na turally have to take a back rank, and I will re frain from criticising, them with the exception of Herr Bordmann (Leporello), who was remarkable both in his splendid singing and acting. The or chestra was carefully conducted by Herr Gille, who succeeded in directing the ensemble with energy and temperament. In Gura’s third performance of “Carmen,” with Frau Ottilie Metzger in the title role, we missed so much that we left the theatre disappointed. Why? Has the great success of the first night been the moans of inducing Herr Gura to think that audience and press will go through thick and thin with him ? Oh, Herr Direktor, one swallow alone does not make Summer ! Frau Metzger alone cannot com pensate for the errors of others. The triumph was almost entirely hers, with the exceptibn of her ap pearance, which was not very prepossessing. Carmen must fascinate by her appearance to conquer the audience, and Frau MetZger pleased me much more as Ortrud than as Carmen. In her representation one misses le je ne sais quoi which comes natur ally to a Destinn, or even Emma Calve. I was waiting for the scintillating nerves of Carmen, the cunning, the coquetry; but in vain. At least I have not perceived any of these characteristics to a convincing degree. On the whole the representa tion was lacking in grace, and Frau Metzger’s Carmen was unnatural. Vocally, she was dazzling, and found the real tones to evoke emotion; especi ally in the second act, when she was highly drama tical. The “Kartenarie” she sang with great effect and “Eskamillo, ich liebe dich” sounded wonderful in the last act. With the audience she had a great success. Her partner, Herr Bischoff, as Don Jose was so much beyond description that I cannot essay the task. I should only like to mention Fraulein Bernhardt’s representation, which inter ested me very much; her lovely soprano voice and sympathetic acting were unique. Kapellmeister Wolfram controlled choir and orchestra well, and prevented many mistakes, although he has not the advantages of a Gille. It is to be hoped that Herr Gura will improve on his performances, otherwise his undertaking will be anything but a success. 4c . M. O. Madame Rosa Olitzka gave a farewell concert at the Bechstein Hall, London, previous to her depar ture for America, and a London contemporary comments upon the performance in the following terms: Few are the occasions upon which Madame Rosa Olitzka comes forward as a recital-giver, and last night there was an additional reason for the presence of a large audience at Bechstein Hall, in response to her bidding, from the fact that the artist was making what was announced as a fare well appearance previous to her departure for America. We do not know how long Madame Olitzka intends absenting herself, but she may rest assured that a warm welcome awaits her whenever she elects to return, for she is to be numbered among those singers whose accomplishment is admitted on all hands. Last evening, once again, she made abundantly evident how decided are her powers of interpretation, and how wide her range of ex pression. The programme was well calculated to display her gifts in both directions. At the very outset, in Penelope’s fine air from Max Bruch’s “Odysseus,” Madame Olitzka laid emphasis on the dramatic side of her art, her delivery of this num ber being marked by intensity as well as restraint. To her rendering of Lieder by Schubert, Brahms, Rubinstein, and others, the singer brought the re quisite sympathy and insight, and in nothing, per haps, was she more successful than in Loewe’s “Die Uhr”—a song which, for all its simplicity, is by no means easy to make completely effective— and Tschaikowsky’s charming “Wiegenlied,” the delicacy of which was most happily realised. This was among the songs which the audience insisted upon hearing over again. Madame Olitzka received admirable assistance from her accompanist, Mr. Hermann Griinbaum. ^Eugen Bachmann MeiningerStrasse6,IV.,l. I The July programme at the “Chat noir” is very extensive and amusing. The Kunstlerisehe Mario- netten Theater of the sculptor Waldemar Hecker performs a sketch which cleverly parodies the latest sensational lawsuits. An agreement was made between Herr Professor Engelbert Humperdinck and the director of the Metropolitan Opera in New York, Mr. Andreas Dippel, who is staying in Berlin at present, giving the Metropolitan Opera the right of performing Humperdinck’s “Konigskinder,” an opera in three acts. The opera will be performed in New York in the course of the next season with Geraldine Farrar in the principal female role. The former director of the Philharmonic Orchestra gave a very successful performance in London at the Queen’s Hall with the Symphonic Orchestra. He was especially applauded after performing Brahms C-minor Symphony and Beethoven’s “Eg- mont” Overture. 4c In the Morwitz Opera (Schiller Theater O.) “Die Hoffnung auf Segen,” musical drama by Heyer- mans, German translation by Walter Ehrenberg, music by Charles Grelinger, will be performed for the first time on Saturday. 4c The B. T. states that during Monday night Prince Eulenburg had such a serious attack of weakness that several doctors had to be hastily summoned to the Charite Hospital. CHURCH SERVICES: BERLIN. S. George’s Church, Monbijou Garten. Second Entrance: Oranienburger Strasse 76B. Sundays: 9 a.m. Celebration of Holy Communion. 11 a.m. Matins and Sermon (followed by a second Celebration on 1st, 3rd, and 5th Sundays in the month). 6 p.m. Evensoiig and Sermon. Fridays: 11 a.m. Litany. Holy Days: 9 a. m. Celebration of Holy Communion. The Chaplain: Rev.J. H. Fry, M.A., Savigny Platz 7, Charlottenburg. American Church, Motz Strasse 6. Nollendorf Platz. Sundays: 11.39 a. m. Regular Service. 4.0 p. m. Song Service. rharloc nSob (Formerly with Jean Henry, Ulldl ICO UICL4 14, Buckingham Palace Road, London W). Elegant Ladies’ and Gentlemen’s Salons. Fasanen Strasse 41, Gorner Fasanen Platz. NICOLA PERSCHEID 1 STUDIO FOR ARTISTIC PHOTOS 5 W. 9, Bellevue Strasse 6a. Tel. VI, 3156. |j||| Hugo Hienzler teacher of the art A Passauer Strasse 37a. I Marie Pfaff Hohenstaufen Str. 35, HI. Singing-mlstress At home 12—2 o’clock. I 10—12 dally. Pfalzburger Str. 73, part. Gebr.Kiendorf. Piano Factory, Luckenwalde b. Berlin. Show rooms: Berlin SW., Anhalt Str. 15. Martha Melzer, Manicure, Adolph Alberti. Deli Drugstore. Medicines. Toilet aid household articles. Georg Kunkel, 82, Martin Luther Str. Residenz Buffet G4,tajl Strasse. Cafe Speyer Mart,n Luther Rendezvous of Americans Cl Strasse 13 three minutes from American Church. Grand concert daily. Best Bakery in the American Quarter. Franz Kalweit, 31, Hohenstaufen Str. Steinert & Hanson, First class Wine Restaurant Prop. Fritz Kiel. Rendezvous of the Art World. Kurfiirstendamm 235. Excellent bakery. Albert Sehnert, Fruit and Vegetables. A s^e‘S p *f’ BERLIN CURRENT ENTERTAINMENTS. Royal Opera House . . Royal Theatre . . . . New Royal Opera Theatre Deutsches Theater. . . Lessing Theatre . . Berliner Theater . . Neues Theater . . . New Schanspielhonse. Kleines Theater. . Comic Opera . . . Residenz Theatre .. Lnstspielhonse . . Trianon Theatre . Theater des Westens Schiller Theatre O. „ „ Charlotten burg Frdr. Wilhelmst. Theatre Thalia Theatre .... Urania Theatre .... This evening: (closed). (closed). Mignon Brettlgrafin (Sari Fedak) . . . (Kammerspiele) Berthold Held: Gelbstern (closed). Raffles Der Zerrissene Company of the New Operetta Theatre from Hamburg: Die Dollarprinzessin (closed). (closed). (closed). Die blaue Maus (closed). Ein Walzertraum Company of the Morwitz Opera: Der Postilion von Lonjumeau (closed). Die Diebin Der Mann mit dem Monocle. . Die deutsche Nordseekiiste . . at 7.30 ,, 8 If 8 Every evening until further notice. Metropol Theatre . . . Das muss man seh’n Bernhard Rose Theatre Im Hause der Sunde .... WintergOrten .... Spezialitaten Apollo Theatre .... London Suburbia. Spezialitaten Passage Theatre . . . Berlin i. Stimniung. Spezialitaten Berliner Prater Theater Die Welt ein Paradies .... Walhalla Theatre . . . Spezialitaten at 8 8 8 8 8 7 8 THE AMERICAN CONSULAR SERVICE. The changes in the American Consular service have been greater this year than in any previous year. No less than 57 Consuls have been trans ferred and promoted; among them the following affect Germany. Mr. Robert Skinner, of Ohio, hitherto Consul General at Marseilles, is appointed Consul General at Hamburg; Mr. John E. Kehl, Consul to Stettin, is transferred to Sydney, N. S. W.; Mr. Robert Bergh, of N. Dakota, Consul at Mainz, transferred to Belgrade; Mr. William Bardel, of New York, Consul at Hamburg, transferred to Rheims; Mr. Clarence Slocum, Consul at Zittau, transferred to Fiume; Mr. William E. Teichmann, of Missouri, Consul at Eibenstock, transferred to Colombo; Mr. W. J. Lowrie, Consul at Weimar, moves to Erfurt; Mr. George Bucklin, of Oklahoma, Con sul at Glauchau, is transferred to San Luis Potosi. By recent legislation of Congress a number of the less important American Consulates have been abolished to save expense, some of them in Ger many.
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