Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 120

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

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Brooklyn, at this time, was having three opera nights per week, while New York had to be satisfied with two. This cansed considerable comment by the New York press.

February 1st, the opera of " Martha " was per- formed, with Colson in her great original character of Lady Henrietta. February 5th, the "Barber of Seville," with Miss Hinkley as Rosena. February 9tlı, "Ernani "-Elvira, Madame Colson; with the last act of " Lucia Lammermoor"-Lucia, Miss Hinkley. So great was the success of the first season, that Sig. Muzio was indnced immediately to commence six additional nights. February 12th, "Lncrezia Bor- gia," with Signorina Elena as Lucrezia. This lady was one of Sig. Garcia's pupils, and was a success. February 15th, eighth opera night, and Miss Hinkley as Leonora. February 19th, " Mr. Ballo in Mas- chera,"-Anelia, Madame Colson; Oscar, Miss Hink- ley. This opera and "Trovatore" werc both performed in the United States before they were in England. The " Masked Ball" was repeated on Feb- ruary 23d. On the 26th, "I Puritani;" March 2d. " Don Giovanni ;" March 5th, the first appearance of Miss Lonisa Kellogg in Brooklyn,

RIGOLETTO, With the following cast :

Gilda, Miss Kellogg

Magdalena, Miss Phillips

Duc of Mantua, Sig. Stigalli

Rigoletto, Sig. Ferri Sig. Colletti

Sparafucile,

Miss Kellogg was the third American lady who made her début this season as a prima donna. This was an extraordinary harvest of fine singers reaped from Ameri- ean soil that the public did not expect, and up to this time has not been equaled. Miss Kellogg at once be- came a great favorite with the public.

March 9th, the fourteenth opera night, and benefit of Miss Hinkley,-Norma, Colson ; Adelgia, Miss Hinkley. The performance on this occasion con- chided with Miss Kellogg as Gilda, in oue act of " Rigoletto." Thus ended the first opera season in the eity of Brooklyn, with the receipts averaging $2,300 per night, while they did not reach $1,600 in the city of New York.

1133

THE PROGRESS OF MUSIC AND OPERA IN BROOKLYN.

The Philharmonic Society and these performances of the Italian opera had established a taste for music in Brooklyn, which has increased in its growth every year; until Brooklyn is looked upon by all operatic and concert managers as being the most appreciative city in the Union, and where they are always certain of re- plenishing their coffers. From 1861 to 1883, all the great lyric artists that have appeared in New York City have, also, appeared in Brooklyn, and frequently with a greater monetary success than in any other city of the Union. Having now pictured the first strug- gling efforts for the establishment of music in the " City of Churches," we are compelled, for the want of space, o notice only the most prominent musical events that have occurred up to the present time, and that in brief.

March 14th, Mr. George F. Bristow, son of the Mr. Bristow mentioned in the early parts of this article, performed at the Academy his oratorio of 'Praise to God," with a full chorus of two hundred icked voices. April 9th, Sig. Mnzio's opera tronpe appeared for three nights at the Academy. Madame Jolson, Miss Hinkley, and Miss Kellogg were the stars of the occasion.

May 18th, the Philarmonic Society gave a "Grand Extra Concert " at the Academy, in aid of the " Patri- tic Relief Fund." Miss Hinkley, Miss Kellogg, Sig. Brignoli, Mr. Schreiber, Mr. George Warren, and thers volunteered. George P. Morris, the poet, wrote , song for the occasion, entited " The Union, Right or Wrong;" music by Mnzio, and sang by Miss Hink- ey.

1862 .- Jannary 10th, the first grand opera night, 'Il Barbiere di Seviglia," Miss Hinkley and Sig. Brignoli in the leading parts. This season, " Il Tro- atore," " Martha," "La Favorita," "Betty," and other irst-class operas were performed, with Miss Hinkley nd Miss Kellogg the favorite prima donnas. May 1st, Irs. Grace brought before the Brooklyn public, at the Athenaum, Miss Carlotta Patti. Miss Emelia J. Boughton made her debut at the Academy, as Violetta.

October 2d, a musical and dramatic performance was iven at the Athenæum for the benefit of the sick and rounded soldiers. Mr. Gabriel Harrison performed the art of Fazio, to Miss Osgood's Bianca. Mr. John I. Loretz, Mr. and Mrs. John Abbot, and Mrs. Prior Il volunteered, and took prominent parts in the mu- ical programme.

Nov. 25tlı, Madame Guerrabella made her first ap- earance at the Academy as Leonora. On the 27th, ignora Lorini as Norma. Dec. 4th, Mlle. A. Cordier s Dinorah, with new scenery and costumes. Many ther operas were performed this season with great uccess.

1863 .- January 8th, Grau gave his first opera- ight of the new season, with Miss Kellogg as Pao-

lina, making her first of a series of farewell perform- ances, prior to her departure to Europe .* This season the German Opera Troupe gave several performances, with partial success. March 19th was Max Marctzek's first night of his Troupe. On this occasion, Mlle. Or- tolani Brignoli appeared as Violetta. This artiste had made considerable reputation abroad, but did not meet with the success she deserved in this country. She was petite and very graceful, had a good voice, and was quite charming as an actress. After this lady fol- lowed Madame Gnerrabella as Amelia in the " Masked Ball," and Miss Kellogg as Martha.

November 4th, Mrs. Van Zandt (Miss Jennie Blitz), a lady who had resided in Brooklyn nearly all her life, made her first appearance in Brooklyn at a concert given at the Academy, and when the curtain fell upon her performance, she stood an accepted artist and favorite. + It is an astonishing fact, that since the open-

* CLARA LOUISE KELLOGG won her way into public esteem by hard work and a soul devotion to her glorions art, and occupies at the present time the proudest position ever reached by an American singer. The forcing process so well known to speculative management was never ap- plied to her. She was of a purely natural growth, and, step by step, has made her way up the rounds until she is an acknowledged trinmph, and in every sense an ornament of the lyric stage.

Her fame preceded her to Enrope, and opened the doors of the principal opera-honses for her, as to the most honored guest. She sang before the worshipers of the great Patti, Nilsson and Lucca, and still retired covered with lanrcls. The brothers Strakosch, while hunting in Enrope for their annual novelty, conld find no singer abroad more desirable as a means of cis-Atlantic speculation than the fair young American. This was turning the tables ; they sent to catch a foreign songster, and brought home a native hird. It takes but a few words to explain her abilities as a singer. "She does not astonish yon; she does what is far better-she delights yon." She is natural in every particular of voice-management. She is sympathetic, and has an almost faultless method, and while we cannot say that she is a dramatic artist of any startling effects, we always feel perfectly satisfied with her qniet style of acting, which leaves a good impression npon her andience. As any one can admire a rose or a lily, or can be impressed with the glory of a sunset, or feel awe-struck with the grandenr of an Alpine scene, so it is with native worth on the stage. An andience is magnetized just as promptly and as truly by the flash of genius; and the popular heart always knows when it is thrilled in sympathy with the trne genins of song, and appreciates its real valne, and the power that breathes it forth, as the humble Swiss peasant appreciates the sublimity of his mountains of eternal snow.

1 MRS. VAN ZANDT was horn in the City of New York, Jannary 1st, 1845. She studied in New York nnder Sig. Barili and Sig. Abella. She made her first appearance upon the stage at a concert a few months previous at the Brooklyn Academy. Her complete snecess before crowded honses, composed of the musical dilettanti and the best critics, more than sustained the an- ticipation of those who had frequently heard her in privatc. The press spoke of ber efforts as delicatcly artistic performances, and predicted for her a glorious future, which has been fulfilled. Subsequently she appeared in the "Bride of Lammermoor" with increased success. In 1865 she went to Milan, and there placed herself for instruction under the well-known Lamparté. Her progress was so great that she was soon offered an engage- ment at the Royal Opera House, Copenhagen, where she appeared with the most flattering success. After this she entered into an engagement with the Russian Government to sing during the winter months at the Imperial Opera Honse. In the winter of 1867 and 1868 she appeared for five months at the far-famed La Scala, Milan, and the furore she there created attracted the attention of Mr. Gye, the manager of the Royal Italian Opera, at Covent Garden Theatre, London, where she appeared in April, 1868, making a great hit in "Don Giovanni," and proving herself a most fascinating Zerlina. She was here engaged for the seasons of 1869 and 1870. After this, she was engaged by Gye for a lengthened tour through Great Britain, visiting Glasgow, Dublin, Liverpool, and all the large cities, receiving marked at- tention and favors wherever she went. After winning many lanrels abroad, during her absence of six years, she returned to her native city, New York. She was immediately engaged by Mr. Rosa as a prima donna soprano for the Farepa Rosa's "Grand English Coera Troupe," and made her first appearances in English opera on the 9th of October, at the New York Academy of Music. Balfc's opera of "Satanella " was chosen for the occasion; Madame Van Zandt was received with great applanse, and the press spoke of her in the highest terms,

1134

HISTORY OF KINGS COUNTY.

ing of the Academy of Music, in less than three years, 110 less than four American prima donnas made their tirst great success in Brooklyn, and were recognized wherever else they went, as artists of marked abilities. The residue of this season was filled up with many fine operatic performances. The Philharmonic con- certs were attended by crowds of people, and, on many occasions, even the Academy was not large enough to accommodate them.

1864 .- The most important event this season in the opera line, was the first appearance in Brooklyn of Mrs. Jennie Van Zandt on the operatic stage, which took place November 19th, she having made her début at the New York Academy a few evenings previous. She chose the part of Gilda in " Rigoletto." On both occasions her success was decided.

Madame Van Zandt is still popular with the Ameri- can public. Her voice still retains its freshness and many beauties of execution, and wherever she appears, in concert or opera, she is welcomed with all the marks of respect and approval.

In the season of 1864, Signora Carozzi Zucha per- formed frequently at the Academy in " Lucrezia Borgia," " Don Giovanni," " Il Polinto " and " Don Sebastian". This same season Miss Kellogg made a great impression in the character of Marguerita in "Faust," drawing immense houses whenever she appeared.

After the advent of three such American artistes as Miss Hinkley, Mrs. Van Zandt and Miss Kellogg, it is impossible for foreigners to say that this country has not produced artists of high merit; which fact they should ever feel ready to admit, and of which every American should feel justly proud.

As years have passed, the Philharmonic Society has increased in public favor, and no musical organization in America can compare with it for the great work it has done in building up a refined taste for music. The society has always kept its faith with the public by giving the best talent they could obtain, whether native or foreign, vocal or instrumental. To one gentleman in particular are the citizens of Brooklyn indebted for the great success of this society and the progress of music in Brooklyn. This gentleman was LUTHER B. WYMAN, and to this statement no one can take excep- tion. If any man in connection with the history of music in Brooklyn deserves a recognition and bio- graphic mention, it is he.

LUTHER B. WYMAN. - This gentleman was born in Massachu- setts, in February, 1805. He passed the first twenty years of his life on his father's farin. At the age of twenty, he went to Boston, aud soon after he became a member of the Handel and Haydn Society. Hle possessed a superior bass voice, and with some hard work in its culture, ho gained the position of one of its principal solo singers, and frequently appeared in public, and was spoken of as a careful and painstaking artist.

In 1830, he started West. On arriving at Troy, a friend took him lo see the then just completed Erie Canal, and here, by ac- culent, he met a young lady, daughter of the Rev. Dr. Warren,

who afterwards became his wife. This caused him to remain in Troy, wlicre he obtained a position in the office of the Troy Towboat Company. He had been but a few weeks in Troy when he was appointed to take charge of the choir of the Second Pres- byterian Church, which he conducted for two years. Subse- quently, and for several months prior to his departure for New York, he became quite famous as a violoncello performer in the Rev. Dr. Berrian's church. At the end of three years, Mr. Wy- man moved to New York. He at once joined the New York Sacred Musie Society. His connection with this, the only musical society of note in the city, lasted for over fifteen years, and for the Inst five years of this time he acted as its president; his choirs gave superb performances of the most noted vocal compositions, assisted by such soloists as Madame Cazadori Allen, Mrs. Austin, and Mrs. and Mr. Joseph Wood, and all of the great artists of that day.

In 1840, Mr. Wyman removed to Brooklyn, then a city of less than forty thousand inhabitants. At this time, he sang bass in the Church of the Messiah, Dr. Dewey's, New York. Ilowever, he soon resigned this position, and accepted the appointment of musical director in the newly-erected Unitarian Church of the Rev. Dr. F'arley. This position he held until 1870, at which time he was presented with a handsome silver service as a testi- monial of their high appreciation of his great labors in accom- plishing an advanced condition of church music. Soon after joining Dr. Farley's church, he was elected president of the Brooklyn Sacred Music Society, and superintended the produc- tion of the oratorios "Samson " and the " Messiah " at Plymouth Church, and the "Seven Sleepers," by Karl Lowe, in the hall of the old Academy, on the site where the Packer Institute now stands. This office he held for three years, and in this Society he made the acquaintance of Miss Frances N. HIall, who became his second wife in 1849, his former wife having died somc ycars beforc.

In 1857 he took the initiative of forming the Brooklyn Phil. harmonic Society. Theretofore, Brooklyn had been mainly dependent upon New York for instrumental music of a high order. On the evening of April 15th, 1857, a committee of gen. tlemen met at the Brooklyn Athenæum to organize a society for the purpose of giving in Brooklyn a series of concerts similar to those so long enjoyed by the citizens of New York under the auspices of their Philharmonic Society. A committee, com posed of Luther B. Wyman, Robert R. Raymond, John Green wood, Edward Whitehouse, Carl Prox, Leopold Bierwirth ant Mr. Spies, was appointed to draft a plan of organization and : constitution. On the following 5th of May, the committee re ported, and the society was permanently organized. Luther I Wyman was appointed its president. It is sufficient to say, tha from the inception of the Philharmonic Society, Mr. Wymar hield, by annual re-election, the position of president almost a] to the hour of his death, and was, without doubt, its most netiv and efficient manager. The grent success of the Philharmoni Society at the Athenaeum rendered it absolutely necessary to have a large hall to admit the crowds that attended its concert The Philharmonie Board, with Mr. Lyman at its head, was th tirst to propose the crcetion of the Academy of Music. A boar was formed, stoek was subscribed, Mr. Wyman was elected sec retary of the Building Committee, and the work pro cede without delay. In June, 1560, while the erection of the Acad emy was in progress, Mr. Wyman had a narrow escape from death. On the 29th of that month, he was in the unfinishe building, to fulfill an engagement with the master mason, Mh French. Ho wns some few minutes in advance of his engage ment, and while on the main floor, watching the raising int position the immense trusses, weighing nine tons each, whic were to support the roof, he observed a storm gathering, an suddenly a squall arose, and striking the first truss on the Clu ton street end, which was not fully seeured, it fell, carrying ul whole ten trusses ono after the other with it, and falling with

1135

THE PROGRESS OF MUSIC AND OPERA IN BROOKLYN.

frightful crash into the interior of the building. Mr. Wyman, unable to escape, was buried beneath the debris. After being extracted from his dangerous situation, he was carried home, and, lingering between life and death, was confined to his bed for over two months.

It has been the intention of this sketch to trace Mr. Wyman's connection more particularly with musical matters, and the various projects with which he has been indentified for the ad- vancement of music in the city of Brooklyn. It is well to remind our readers of the prominent part he took during the War of the Rebellion in the organization of regiments, in "sanitary fairs," in patriotic concerts, and every other movement for he further- ance of the success of our armies and the saving of the Union. In such matters, no citizen of Brooklyn was more active, and when he could not give in the way of wealth, he made himself doubly serviceable by personal devotion to the great cause. We can truthfully say that in every position of public trust he proved himself an unselfish and public-spirited citizen and an honorable gentleman, whose character would adorn the proudest of cities. For over three years previous to his death, he was an invalid from paralysis, No man ever died in Brooklyn who was more highly respected, or whose death was more deeply re- gretted, than Luther B. Wyman. He died in Brooklyn, on Sun- day, July 27th, 1879, at the age of seventy-six years. His re- mains were laid at rest in Green-Wood.

In mentioning the names of the celebrated artists who have visited Brooklyn, and who have, by their remarkable talents, lent the city of Brooklyn pages of musical history worthy of the greatest cities in the world, there are two singers who deserve more than a passing notice ; these are PAREPA ROSA and MADAME ALBANI.

Of all the singers that have appeared upon the lyric stage, none was more beloved for her personal character than PAREPA RosA. Man, woman and child, on meeting her, at first sight took her into their hearts. There was a freshness and a truthfulness about her that captivated every one who met her on, or off the stage. And to her lovely character may be attributed as much of her fame as to her musical genius.

Euphrosyne Parepa was born in Scotland in 1839. Her mother was the daughter of Mr. Seguin, and was the sister-in-law of the celebrated Mrs. Seguin. Enphrosyne gave evidence of mu- sical talent when she was quite young. At the age of sixteen she made her first appearance in Malta in the character of Ar- mina in " La Sonnambula." She was a success. She then went to Rome, Naples, Genoa, Lisbon, and Madrid. 1n 1857, she ap- peared in London with the great Ronconi, and there held a very high position in the Italian opera. In 1863, she married Captain Carroll, of the East India service, who left her a widow after six- teen months of married life. In 1866, Parepa accepted an en- gagement from Mr. Bateman, father of the well-known actress, Miss Kate Bateman, who brought her to this country. She made her first appearance at Irving Hall, New York, on September 11th, same year. Mr. Bateman, through bad management, did not make her a success. He then passed her over to the man- agement of Mr. Lafayette Harrison, owner of Irving Hall at that

time. He soon introduced her to the public in oratorio and opera, when she at once took position in public opinion as one of the finest queens of song that had ever visited the United States; and she nobly maintained that position till the hour of her death.

In 1866, she married Carl Rosa, the violinist. In 1872, they organized an English opera-troupe of their own, which was so great a success that their profits inside of two years amounted to $150,000. Flushed with wealth and fame, she returned to England to rest for a few months; but shortly after her return to her native country she suddenly died on the 22d of January, 1874.

Her voice was pure and sympathetic in every note, and was ample in volume, but possessed no dramatic quality of expres- sion. Her great charm as a singer lay in her simple truthfulness of note and manner of modulating its compass. Wherever she went, she flooded the land with melody, and gladdened the hearts of all who heard her.

MADAME ALBANI is an American artist, whose ability as a singer has lent additional glory to the limited circle of American sing- ers who have given the "New World " a reputation in musical art. It was while she was studying for the operatic stage in Milan that she attracted the attention of her old maestro, and he wrote to the manager of the Theatre "La Pergola," at Flor- ence, that he would send him the most accomplished and the most finished singer in style that had ever left his studio. How well she redeemed all he had promised, the Florentines soon testified. Her fame spread rapidly, and she soon appeared at the Covent Garden Theatre, London, and made a decided success in the character of Armina in "La Sonnambula." It was con- ceded by press and public that she was worthy to take rank with the foremost prima-donnas of Europe. After an absence of some ten years, she returned to her native country, where she soon ap- peared in the concert room and on the operatic stage. She was fully endorsed by all as a great artist, and she still holds her position as such, having become a fixed favorite with the best critics.

To particularize the advancing steps of Music in the city of Brooklyn, from 1865 up to the present writing, 1883, would require a volume of five hundred pages. The rapid succession of the appearance at the Academy of Music of all the musical celebrities, Italian, French, German and American, would indeed be interesting to detail, and would further prove the fact that Brooklyn has done as much to encourage the advancement of music as any other city in the Union. Among the great artists who have appeared in Brooklyn in the last twenty years may be named Pauline Lucca, Patti, Nilsson, Parepa Rosa, Zucchi, Aimée, Geistinger, De Murska, La Grange, Gerster, Albani, Rozetti, Krebs, States, Silly, Cary, Charles Santley, Wachtel, Rubin- stein, Ronconi, Formes, Thalberg, Strauss, and many other fine lyric artists.

1136

HISTORY OF KINGS COUNTY.

THE ART. ASSOCIATION BUILDING, MONTAGUE STREET, BROOKLYN.

THE FINE ARTS IN BROOKLYN.

Salve Fariam

A RT is the beginning, the substance, and the end- ing of civilization. The first line of grace drawn, or the first graceful adjustment of a fold of rapery, belongs to the beginning of art. Art is innate nd instinctive with all human beings to a greater or 'ss degree. The barbarian, though savage and brutal, as the conditions of art in his wild nature. The first uman being that breathed the breath of life, though barbarian, was simply a man with the elements of grace 1 his soul, which ultimately lead to the expression of 't, and from which spring civilization.

The wild Indian of the Far West demonstrates the istence of the germs of art within him by the decora- ons of his garments, by the feathers that flaunt pon his head, the wampum that hangs from his belt, ad the colors of paint that adorn his face. None her than the born fool can see things of grace with- it an emotion; therefore all things of grace indicate 't, for the reason that emotion is the mother of grace, id so long as the human mind is able to distinguish le difference between a curved and a straight line, art ill exist, and civilization will go on. Form was the st-born child of art. Next came light and shade, vin children, and then followed harmony of color, the ree producing the picturesque, which is the highest indition of art.

But few cities in the world are celebrated for art-col- ctions; but few cities can afford a proper encourage- ent for a high art-culture; for here we must admit at art ultimately becomes the greatest of luxuries, as takes years of study, labor, and cven genius on the rt of the artist to reach an eminent degree of success, id he must accordingly be well paid for what he has complished. However this may be, BROOKLYN has ne quite as well, all things considered, as any other y in the Union.

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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 120

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