Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 119

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360

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Sontag was of middle stature, with a face full of deliency and sensibility She had light-colored bair, falr complexion, and large blue eyes. As an actress, though not great, she justly clalmed applause.

1n 1826, she appeared at Parle In " Il Barbler di Seviglia," and made a decided success. In 1827, who was at Berlin, and In London the u xt season, always galning new laurels wherever she went. She left the stage for several years, and when she returned to It still found public favor In 1850, she was prima donna under the management of Lumley at th Pr-ry Lane Theatre, London In 1852, Sept. 19th, she arrived in New York city. and gave a series of splendid coneerts at Metropolitan Ilall, assist il by Silvi. She next appeared In Brooklyn, Boston, Philadelphia and Now (r. leans. She then returned to New York, and in July, 185t, appeared to pera under the baton of the celebrated Max Maretzek at the Castle Gaarden in 1854, she went ta Mexteo to perform an engagement of two months. fr which she was to secure ten thousand dollars, but shortly after she arrir -! there, she died of the cholera, on the 17th of June. 1854. She had an im- mense funeral; all performers of both theatres assisted at her funeral service Her remains were sent tu Germany, and burled In the Abbey Martenst rn.

1129

THE PROGRESS OF MUSIC AND OPERA IN BROOKLYN.

1852 .- Whatever minor concerts were given this year in Brooklyn were attended with a better success than formerly. The excitement created by two such great artists as Miss Hayes and Madame Sontag ap- pearing in Brooklyn, gave a new impulse to the desire on the part of the people for other musical entertain- ments of high order, and almost demanded the return of these excellent artists to the " City of Churches."

1853 .- This year is made notable from the fact that a new hall, " The Atheneum," opened its doors for the first time on the 2d of May. The building is a fine structure, standing on the north-east corner of At- lantic and Clinton streets. It contains a large hall on the second floor, and will seat twelve hundred people. It has a parquette floor and a gallery, both well arranged. The interior is finely frescoed, and has a small stage, a drop-curtain and a few scenes, better adapted to concert purposes than to the drama. Sev- eral fine concerts were given the early part of the season at this hall. On October 14th, Henrietta Sontag appeared at the Athenæum. This was her second and last appearance in Brooklyn. She was supported by Sig. Rocco and Paul Jullien.

1854 .- Madame Isidora Clark, an American prima donna, and who for many years had been a resident of Brooklyn, gave a concert at the Athenæum November 29th. Mr. Henry Appy, the celebrated violinist, and Mr. Wells, pianist, assisted. The well-known Mr. Henry Timm acted as conductor.

1855 .- " The Pyne and Harrison English Opera Troupe " gave their first concert in Brooklyn at the Athenæum, April 5th. Miss Louisa Pyne* was assisted by her sister, Mr. William Harrison, and Mr. Henry Horncastle. The selections were from the most pop- ular operas. The concert was repeated on the 11th of the same month with increased attendance.

* Miss LOUISA PYNE was a great favorite with the American public. At an early age, she was placed under the instructions of Sir George Smart. When only ten years old, she appeared at the Queen's Concert-Room, London, and met with much applause, and soon became a favorite concert siuger. In 1847, she visited Paris, and met with success. In 1849, she made her first appearance in opera at Boulogne, as Armena in "La Son- nambula," and was greeted with loud applause on the fall of the curtain. Two months later, she performed at the "Princess's " Theatre, London, as Zeilina in "Don Giovanni." In 1851 she was prima donna at the Haymarket Theatre, London. It was here that she first appeared in the opera of "The Crown Diamonds," the music of which she sang with exquisite taste and brilliancy. Her fame was now made, and she soon appeared, by request, before Her Majesty Queen Victoria, at Windsor Castle, and at Buckingham Palace. In 1854, from Liverpool, she embarked for the United States, and made ber first appearance at the Broadway Theatre, Oc- tober 9th, the same year, in the opera of "La Sonnambula." The theatre was crowded almost to suffocation, the admittance being only fifty cents. She made a most decided hit, and performed for several weeks to crowded houses. After this, she traveled through the States with like success. Her voice was a soprano of excellent quality, remarkable for compass and flexi- bility. In her appearance she was petite and blonde, with a most agreeable expression of face that almost sparkled with intelligence. After remaining in the States for three years, she returned to England in 1857, and at the Lyceum Theatre, London, she made a great hit in "The Rose of Castile," a new opera by Balfe, which was produced for the first time, October 29th, 1857. In 1860 and 1861, Miss Pyne crowded Drury Lane and Covent Garden Theatres by her delightful singing in Wallace's new opera of " Lurline." In 1862, she took the place of Miss Kellogg at Her Majesty's Theatre, London. Mr. William Harrison, a fine tenor, and who always sang with Miss Pyne, died in England, 1868, 53 years old. Miss Pyne was born in England in 1835,

(4)

September 14th, Madame Theresa Parodi made her first salutation to a Brooklyn audience at the Athe- næum. Madame Amelia Patti, Strakosch, Sig. Barvidi, and Mr. Gardiner composed the list of artists. The selections were from Meyerbeer's "Prophet," "Casta Diva," "Norma," with the duettino called "Love's Approach," composed by William Wallace, and were sung by Madame Parodi .*

1856 .- January 16th, the celebrated Gottschalk gave his first " Piano-forte Soiree " in Brooklyn, at the Polytechnic Institute, Livingston street. This gentle- man came to Brooklyn with a splendid reputation, which he had recently made in the City of New York, yet, on this occasion, he performed to almost empty benches. He was a wonderful artist. The piano in his hands seemed like a spirit of music that answered in a peculiar and thrilling way to his fingers as they floated over the keys, as if by magic. There was a melancholy of tone and pathos of melody which at times he expressed that would force tears to the eyes. He made the piano talk to you as the poet talks in his written verses. Yon understood his effect of sounds as you understand the forms of words. He could express sentiments so strongly and picture the descriptive so vividly that one could almost see the colors of the sunset, and hear the ripplings of water, sce the flashings of the light- ning and hear the mutterings of the thunder, the swayings of the forest in the storm, and the moanings of the afflicted. If ever the human soul was expressed through the medium of the fingers upon an instrument, Gottschalk attained the height of that expression. t

* This lady was the pupil of the great Pasta, who was the most prominent of all lyric tragediennes. She was to the operatic stage what Siddons was to the dramatic stage. Parodi made her first appearance on the stage at the Grand Opera House, London, April 10th, 1849, in " Norma," and achieved a perfect success. A critic, who used to write many years ago for the New Yorker, a weekly paper, over the nom de plume of "D ", and was present at her debut, describes her performance in the following terms : "I well re- member the eager scrutiny which the whole performance underwent, to ascertain how much of the Pasta leaven it contained, and how far her Norma would bear comparison with that of Grisi, the acknowledged great 'diva ;' but Parodi's interpretation was entirely different in many respects from that of Grisi. There was more of the lovely yet slighted woman, and less of the tragic queen about it. Not ouly were the great outlines of the character more strongly developed, but all of the nicer shades were filled in with more artistic skill and dramatic effect, which gave tone and coloring to the whole picture. In this the teaching of Pasta and the great scholarship of Parodi were alike evident. There was the same beanty of declamation in the reci- tative, the same frequent sacrifice, though but momentary, of composer to author, and the same abandon of style which her great teacher had manifested in her own wonderful performances."

Madame Parodi arrived in New York City, October 25th, 1850, and made her appearance under Max Maretzek, Nov. 4th, 1850. She was warmly received by the New York press, and was frequently compared to Grisi. Her voice was pure and sympathetic, with a fine quality preserved through- out. She was not brilliant in execution, but she put in those embellish- ments that attracted, for the reason that they belonged to the sentiment of the music, and not to mere tricks of the voice to gain applause. She pos- sessed an intellect that gave great power and artistic thought and weight to her conception of character-just such a mind as could grasp the meanings of such a character as Lady Macbeth, and expound the meanings of deep thoughts. She had a fine figure, and a face better fitted to the work of a tragic actress than a prima donna, to whom we generally look for voice-cul- tnre only, and not to those mental acquirements that are absolutely neces- sary to make a great actor or actress. On leaving the theatre, one was more apt to remember Parodi as the great actress, than as the great singer.

t This great genius of the piano was born iu New Orleans in 1829, and died at Tijuca, a platean, about two miles from Rio, on the 18th of Decem- ber, 1869.

1130

HISTORY OF KINGS COUNTY.

On the 22d of January, Louisa Pyne made another visit to the Athenaeum. January 29th, Gottsehalk made his second attempt at the Polyteelinie Hall, and on this oceasion the people of Brooklyn redcemed their reputation for musieal culture by giving him a fine re- eeption and a full house. February 22d, Louisa Pyne, Gottschalk and Paul Jullien all appeared at the Athe- uæum. May 8th, Madame La Grange and Gottschalk gave a eoneert at the Atheneum. Oet. 15th, La Grange gave her sceond eonecrt at the same hall. On the 23d, Parodi, Gottschalk, Tamberlini, Bernaidi and Morini all appeared at the same coneert at the Athe- næum. Seleetions were given from Rossini, Donizetti, Verdi, Ballini and Malibran. This was the greatest display of musical genius that had ever appeared on the same night in the city of Brooklyn.

Deecmber 1st, Thalberg appeared for the first time in Brooklyn.

1857 .- January 5th, Mr. William Mason, an American pianist of fine ability, captivated his hcarers at the Atheneum. On the 16th, Gottschalk gave a eoneert at the same hall, assisted by Parodi, Cora Wil- horst, and Madame Amelia Patti. February 5th, the Pyne and Harrison tronpc. March 14th, Carl Prox gave what hc ealled a " Philharmonic Soiree," at the Athena um. April 4th, Ole Bull, the great violinist, gave a coneert at the Athenaeum to a erowded honse. April 30th, many of the first citizens of Brooklyn gave a grand complimentary eoneert to Miss Lonisa Pyne, at the Athenaeum. Every seat in the honse was filled.

Philharmonic Society .- On Monday evening, April 13th, 1857, a number of gentlemen met, pur- suant to notiec, at the Brooklyn Athenænm, to organ- ize a Philharmonie Society. The Hon. Judge Green- wood was called to the ehair, and Luther B. Wyman, Esq., was appointed seeretary. Jndge Greenwood stated the objcet of the meeting, alluded to the power- ful influenee arising from the cultivation of music, and tendered his hearty co-operation with the gentlemen present in the formation of an institution so mineh re- quired in the city of Brooklyn. Professor Raymond then offered a set of resolutions, wherein it was stated that the first duty of every community was to advance its own moral and spiritual condition; and, that the most effective measure to this end was an institution of pure and elevated recreation for the people, and no other institution could so perfectly accomplish the objcet as one devoted to the sublime Art of Music. The eom- mittee appointed to draft a plan of organization and constitution ; consisted of Robert R. Raymond, John Greenwood. Luther B. Wyman, and Edward White- house.

May 5th, a sceond meeting was held at the same place. A Board of Directors was immediately formed, elected to serve for one year, consisting of Edward Whitehouse, Charles Christmas, Robert R. Raymond,

Luther B. Wyman, A. Cooke Hull, L. S. Burnham, John Greenwood, P. K. Weizel, Alfred Large, George C. Ripley, W. M. Newell, Charles Congdon, Samuel Sloan, H. Mayren, Henry F. Vail, Robert M. Berdell, E. D. Plympton, William Pool, Luke W. Thomas, David M. Stone, R. H. Tucker, Lea Lnquecr, George G. Hastings, and C. M. Congreve. Luther B. Wyman was elected President; Edward Whitehouse, 1st Vice- President; John Greenwood, 2d Vice-President; Rob- ert R. Raymond, Secretary, and A. Cooke Hnll, Treas- urer.

The society's first eoneert took place at the Atlie- næumi on Saturday evening, Nov. 14th, 1857. Con- duetor, Theo. Eisfeld ; leader, J. Noll ; under whose skillful management the following interesting pro- gramme was performed :

PART I.

Erucia-Symphony, No. 3 .. Beethoven Hear ye, Israel, from "Elijah" Mendelssohn MISS HENRIETTA BEHREND.

Concerto for Cornet-a- Piston. Schreiber

L. SCHREIBER. PART II.

Ruy Blas-Overture. Mendelssohn Ave Maria-Cornet-a-piston Schubert

L. SCHREIBER.

Aria from "Linda"

MISS H. BEHREND. Donizetti

Oberon-Overture. .. Weber

The orehestra consisted of forty cxeellent musicians. The house was erowded to its fullest eapacity : the coneert was a perfeet sueeess, and was followed by an- other, December 12.

1858 .- The Haydn Quartet Club gave four con- eerts at the Polytechnic Institute, January 30. Third concert of the Philharmonic took place at the Athe- næum, Madame de Lussan, soprano; Aptommas, harp: and full orehestra of forty instruments, with Theo. Eisfeld as director. Symphony No. 7, Beethoven, was performed.

The Brooklyn Harmonic Society, composed of the voeal and instrumental societies of Brooklyn, with Carl Prox as director, gave their first eoneert at the Polytechnie. Selcetions from several of the best com- posers were given.

October 1st, at the Atheneum, Sig. Strakosch, with a portion of the Italian opera troupe from New York, gave a eoneert. Madame Pauline Colson, Brignoli, La Bactta and Amodio made up the list of singers. The first concert of the second season of the Philharmoni was given October 30th, with Madame Gazzanigaas the soprano of the oeeasion. *

* Want of space obliges na to condense much that had been prep. 1 concerning the Philharmonic. Suffice it to say, that aluco 1475, Aver more concerls have been given every year. At present the sonson siste of lwenty performances-eight concerts, eight public rehearsals and four matinees.

Performances were given in the Brooklyn Atheneum till 1862. then at the Academy of Music. The first president was Mr. Luther H. Wyman, who held the office until his death ; alnce wheu Mr. Hory h Sheldon has been president. Theodore Elsfeld was the first condu r,

1131

THE PROGRESS OF MUSIC AND OPERA IN BROOKLYN.

Italian Opera in Brooklyn .- The first per- formance took place at the Athenaeum, Saturday, November 20th. A stage had been erected at the west end of the room, furnished with scenery, foot- lights and drop curtain. The stage was about thirty feet wide inside of the proscenium, by twenty-two feet deep; and, although small and cramped, in comparison with the required amount of space, when all the char- acters and chorus were on the stage; still that could well be overlooked in the exciting thought that Brook- lyn had really reached an Italian opera performance. It was, indeed, an epoch in the history of Brooklyn, and caused at the time quite a sensation among the élité. The following is the programme in full :

BROOKLYN ATHENEUM. Saturday, November 20th, 1858. Italian Opera, performed with Chorus, Orchestra, Costumes.

A SPECIAL STAGE,

with new scenery and footlights, having been built and painted by Allegri and Calyo.

Piccolomini, Gazzaniga, Formes, Florenza, Tamaro, Mag- giorochi.

Doors open at 7.30 ; opera commences at 8 o'clock. The performance will commence with the second act of " THE DAUGHTER OF THE REGIMENT, "

Preceded by an overture-Orchestra.

Mlle. Piccolomini, Carl Formes, Tamaro, Marra.

To be followed by the second act of

" LUCREZIA BORGIA. " Gazzaniga, Florenza, Tamaro.

Previous to "Lucretia Borgia," the orchestra will perform the overture to " Der Freischutz." The performance to conclude with the entire opera of

" LA SERVA PADRONA. " Mlle. Piccolomini, as the Housemaid.

During the comic particcio of "La Serva Padrona," will be in- troduced " The Quarrelling Duette," from Auber's comic opera of "The Mason and the Locksmith," and, at the end of the opera, "The Piccolomini Waltz," especially composed for her by Signor Muzio. Previous to " La Serva Padrona," the orches- tra will perform the overture of " Massaniello."

Reserved seats, $2.50. General Admission, $1.50. CARD TO THE BROOKLYN PUBLIC.

As one-third of the Atheneum will be occupied by the stage, there will be lost over three hundred seats. In view of this cir- cumstance, and of the great expense attending the performance, the price charged will not be remunerative to the director. His principal motive, however, in giving opera in Brooklyn, is to stimulate the citizens of Brooklyn toward hastening the rapid construction of the contemplated Brooklyn Academy of Music, which, Mr. Ullman trusts, will be closely united, under one management, with that of New York.

November 25th, the second operatic occasion, was the performance of The Barbiere di Seviglia. Madame

until 1865; Carl Bergmann was conductor for 1865-6; Theodore Thomas was conductor from 1866-1870; Carl Bergmann again, 1870-1873; Theodore Thomas, 1873 until the present time. The orchestra at first numbered 40. Now its regular force is 100, and is, on some occasions, increased to 140. Board of Directors :- President, Henry K. Sheldon; Ist vice-presi- dent, Lyman S. Burnham; 2nd vice-president, Frederic Cromwell : treas- urer, William R. Bunker; secretary, Benj. T. Frothingham; John T. Howard, Henry N. Whitney, William H. Cromwell, John D. Elwell, Wil- liam H. Husted, Camden C. Dike, Frederick A. Ward, F. H. Cowper- ithwaite, Horatio C. King, Jos. P. Holbrook, Frederick D. Blake, John F. Praeger, G. H. Prentiss, W. W. Goodrich, William B. Kendall, C. T. Christ- jensen, Chauncey Low, Edward B, Bartlett, Herbert Seymour, John S. Frothingham.

La Bord (from the Grand Opera House, Paris), Ro- sina; assisted by Maggio, Rochi, Florenza, Lorini, Dubruie, Collotti and Morra ; director, Muzio.

On the first evening, the audience, though brilliant in fashion, was not so full as on the last occasion. The price having been reduced to $1.50 for reserved seats, and $1.00 for general admission, gave more satis- faction to the Brooklyn public. On both occasions the performance was very fine. The entire company was from the New York Academy of Music. Madame La Bord gave the utmost satisfaction, and although Pico- lomini had just been creating a great furore in New York, La Bord at once became the favorite with the audience, which she justly deserved, for she was in many respects the far superior artist.

1859 .- The third concert of the second season of the Philharmonic took place, June 29tl, at Athenaeum; Miss Maria S. Brainard, soprano. February 17th, Miss Elizabeth Greenfield, the " black swan," a colored woman, who had sung with great success in Europe, gave her first concert in Brooklyn. Miss Greenfield possessed a sweet and powerful soprano voice of great compass, executed well, and sang with good taste. Among her selections were the cavatina from the opera of " Ernani," Visions of Rest, from "Trovatore," and others from the best composers. She gave several con- certs in this city, and drew good houses. March 5th, Madame De Lussan, and March 16th, Madame Gaz- zaniga, were the sopranos at the two Philharmonic con- certs. The Philharmonic this season tendered a com- plimenty concert to Madame Gazzaniga, for which Sig. Steffani Amadio and Carl Formes volunteered.

1860 .- This season was filled up with several good concerts. The Philharmonic Society had in- creased so rapidly in its popularity that the Brooklyn Athenaum was no longer large enough to hold the number that flocked to the rehearsals and concerts. The purpose of having an Academy of Music in the City of Brooklyn incited the people to foster the Phil- harmonic, which had also become the fashionable re- sort. The Academy of Music (of which a full history will be found in the dramatic chapter of this book), was the offspring of the Philharmonic Society.

1861 .- The first concert of the Philharmonic that was given at the Academy took place on Saturday evening, January 19th, 1861. Madame Colson, Signor Ferri, and Mr. L. Schreiber were among the artists, with an orchestra of sixty performers. Theo. Eisfeld, conductor, and Mr. J. Noll, leader.

January 22d, the first Italian opera performance was given at the Academy of Music. This was termed the "Inauguration of the first season of six nights." The opera originally selected for the opening night was "Traviata," but the directors of the Academy object- ed to the story of the opera, on the ground that it was not of a moral character (?). The management were forced to produce in its place, Mercandante's Il Giu-

11,2

HISTORY OF KINGS COUNTY.

ramento (the curse), Elasir (1st time), Madame Col- son ; Bianca, Miss A. Phillips; Viscardo, Sig. Brig- noli ; Manfredo, Sig. Ferri ; conductor and director, Sig. Mnzia. This was a great musical occasion for Brook- lyn, as the honse was packed from parquette to dome with one of the most brilliant and fashionable audienees that ever graced a theatre. The opera was beautifully placed upon the stage, with new scenery, properties and costumes. Madame Colson appeared to her best ad- vantage. Her pure vocalizations, and the finest of execution, together with her fine acting, were worthy of the applanse she received. Miss Phillips seemed to feel the importance of the occasion, and captivated her hcarers with her fresh and powerful contralto voice ; while Brignoli's fine tenor voiee held the at- tention of his audience as if they were in a dream. Ferri was a fine actor, and appeared to great advantage in the part of Manfredo. The orchestra, though small, only twenty-seven pieces, did their work well, under the leadership of Sig. Muzio. Priec of admission, $1.00; reserved seats, $1.50.

Among the distinguished persons present was Mrs. Abraham Lincoln, wife of the President of the United States, accompanied by her sons. The party ocenpied one of the private boxes, and divided the attention of the andienee.

January 26th, second opera-night, with the débnt of a new prima donna, Miss Isabella Hinkley, on which occasion was produced Donizetti's opera of "Lu- cia de Lammermoor": Lucia, Miss Hinkley ; Edgardo, Sig. Stefani ; Ashton, Sig. Ferri ; Ramundo, Sig. Co- letti.

Miss Hinkley* made her first appearance in New York Academy of Music, on the Wednesday evening previous. It was admitted by the entire press of New York, that she was a success, and a young lady of great promise. Her appearance met with the warmest encouragement. It was so rare a thing to have an American prima donna, that all present felt that a generons warmth of encouragement was no more than proper. Her voice was a pure soprano, reaching readily to high C, in alt, elear and ringing in the upper re- gister, and with an uncommon quality of chest and lower tones. Her careful training was evident in the manner she changed from the lower to the middle register, and the clear delicacy with which the ex- treme high notes were ennneiated, while the staccato upper passages were remarkably well done.

" MIHA HLINKLEY was the daughter of a physician In Albany, N. Y. Her father saw that his daughter possessed a fine soprano voice, and while she was quite young, placed ber under the best lustractors in his vicinity. Ile died before she had attained to any great proficiency in her difficult art. Iler mother, feeling that her daughter should parque her studies, took her to Italy to complete her musical education. She remained there for over two years. receiving instructions from some of the best masters, and ap- peared in opera in several European cities. Ou her return to this country. The appeared In New York and Brooklyn. In 1861, she became the wife of Hig Suatni She died of typhoid fever, at her residence in New York City, July 6th, 1862 Her andden death was a great shock to her friends and the mualcal public. No American prima donna ever before or sinco has ap- prareil, possessed of so many of the requisiten for the operatie stage.

January 28th, third opera night at the Academy, "The Sicilian Vespers" was performed, with Colson, Brignoli, Ferri, Susini, and Coletti in the cast. Janu- ary 30th, fourth night, "Il Trovatore," with Miss Hinkley as Leonora, and Miss Phillips as Azu- cena. This was something new to have the two prin- cipal characters represented by American artists. Miss Phillips' acting and singing in the "Gipsy Mother " were remarkably fine. Her full, rich voice and voeali- zation were exhibited to great advantage in the " Stride la Vampa," and so completely did her dramatic inten- sity carry away her andience that she was summoned before the curtain at the close of the opera.

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Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 119

Author: Stiles, Henry Reed, 1832-1909. Publication date: 1884 Publisher: New York : Munsell Number of Pages: 1360

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360