The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 119

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345

USA > New York > Kings County > Brooklyn > The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II > Part 119

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Philharmonic Society .- Ou Monday evening, April 13th, 1857, a number of gentlemen met, pur- suant to notice, at the Brooklyn Athenaeum, to organ- ize a Philharmonic Society. The Hon. Judge Green- wood was called to the chair, and Luther B. Wyman, Esq., was appointed secretary. Judge Greenwood stated the object of the meeting, alluded to the power- ful influence arising from the cultivation of music, and tendered his hearty co-operation with the gentlemen present in the formation of an institution so much 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 object as one devoted to the sublime Art of Music. The com- mittee appointed to draft a plau of organization and constitution ; consisted of Robert R. Raymond, John Greenwood, Luther B. Wyman, and Edward White- house.

May 5th, a second 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 Luqueer, 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 Hull, Treas- urer.

The society's first concert took place at the Athe- næum on Saturday evening, Nov. 14th, 1857. Con- ductor, 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 IL.

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

L. SCHREIBER.

Aria from "Linda"

MISS H. BEHREND. Donizetti

Oberon-Overture.

. Weber

The orchestra consisted of forty excellent musicians. The house was crowded to its fullest capacity; the concert was a perfect success, and was followed by an- other, December 12.

1858 .- The Haydn Quartet Club gave four con- certs 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 orchestra of forty instruments, with Theo. Eisfeld as director. Symphony No. 7, Beethoven, was performed.

The Brooklyn Harmonic Society, composed of the vocal and instrumental societies of Brooklyn, with Carl Prox as director, gave their first concert at the Polytechnic. Selections 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 concert. Madame Pauline Colson, Brignoli, La Bactta and Amodio made up the list of singers. The first concert of the second season of the Philharmonic was given October 30th, with Madame Gazzanigaas the soprano of the occasion .*

* Want of space obliges us to condense mnoh that had been prepared concerning the Philharmonic. Suffice it to say, that since 1877, five or more concerts have been given every year. At present the season con- eiste of twenty performances-eight concerts, eight publio rehearsals, and four matinees.

Performances were given in the Brooklyn Athenænm till 1862; since then at the Academy of Music. The first president was Mr. Lnther B. Wyman, who held the office until his death ; since when Mr. Henry K. Sheldon has been president. Theodore Eisfeld was the first conductor,

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 prosceninm, 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 élite. The following is the programme in full :

BROOKLYN ATHEN ÆUM. Saturday, November 20th, 1858. Italian Opera, performed with Chorus, Orchestra, Costumes. A SPECIAL STAGE, with new scenery and footlights, having been built and painted hy 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

nntil 1865; Carl Bergmann was conductor for 1865-6; Theodore Thomas Was conductor from 1866-1870; Carl Bergmann again, 1870-1873; Theodore Thomas, 1878 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- dsnt, 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- thwaits, Horatio C. King, Jos. P. Holbrook, Frederick D. Blake, John F. Praeger, G. H. Prentiss, W. W. Goodrich, William B. Kendall, O. T. Christ- ensen, Chauncsy 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 andience, 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 29th, 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 thatit was not of a moral character (?). The management were forced to produce in its place, Mercandante's Il Giu-

1132

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. Muzia. This was a great musical occasion for Brook- lyn, as the house was packed from parquette to dome with one of the most brilliant and fashionable audiences 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 applause she received. Miss Phillips seemed to feel the importance of the occasion, and captivated her hearers with her fresh and powerful contralto voice ; while Brignoli's fine tenor voice 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. Price 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 occupied one of the private boxes, and divided the attention of the audienee.

January 26th, second opera-night, with the debut 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. Stefaui; 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 generous warmth of encouragement was no more than proper. Her voice was a pure soprano, reaching readily to high C, in alt, clear 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 enunciated, while the staccato upper passages were remarkably well done.

* Miss HINKLEY 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 her under the best instructors in his vicinity. He died before she had attained to any great proficiency in her difficult art. Her mother, feeling that her daughter should pursue 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. On her return to this country, she appeared in New York and Brooklyn. In 1861, she became the wife of Sig. Susini. She died of typhoid fever, at her residence in New York City, July 5th, 1862. Her sudden death was a great shock to her friends and the musical public. No American prima donna ever before or since has ap- peared, possessed of so many of the requisites for the operatic 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 vocali- zation were exhibited to great advantage in the " Stride la Vampa," and so completely did her dramatic inten- sity carry away her audience that she was summoned before the curtain at the close of the opera.

Brooklyn, at this time, was having three opera nights per week, while New York had to be satisfied with two. This caused 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 9th, "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 induced immediately to commence six additional nights. February 12th, "Lucrezia 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" were both performed in the United States before they were in England. The " Masked Ball " was repeated on Feb- rnary 23d. On the 26th, "I Puritani;" March 2d, " Don Giovanni ;" March 5th, the first appearance of Miss Louisa Kellogg in Brooklyn,

RIGOLETTO, With the following cast :

Gilda, Miss Kellogg

Magdalena,

Miss Phillips

Duc of Mantua, Sig. Stigalli

Rigoletto, Sig. Ferri

Sparafucile,

Sig. Colletti

Miss Kellogg was the third American lady who made her debut this season as a prima donna. This was an extraordinary harvest of fine singers reaped from Ameri- can soil that the public did not expect, and up to this time has not been equaled. Miss Kellogg at onee 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- cluded with Miss Kellogg as Gilda, in one act of "Rigoletto." Thus ended the first opera season in the city 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, to 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 picked voices. April 9th, Sig. Mnzio's opera troupe appeared for three nights at the Academy. Madame Colson, 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- otic Relief Fund." Miss Hinkley, Miss Kellogg, Sig. Briguoli, Mr. Schreiber, Mr. George Warren, and others volunteered. George P. Morris, the poet, wrote a song for the occasion, entited " The Union, Right or Wrong;" music by Muzio, and sang by Miss Hink- ley.

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

October 2d, a musical and dramatic performance was given at the Athenænm for the benefit of the sick and wounded soldiers. Mr. Gabriel Harrison performed the part of Fazio, to Miss Osgood's Bianca. Mr. John M. Loretz, Mr. and Mrs. John Abbot, and Mrs. Prior all volunteered, and took prominent parts in the mu- sical programme.

Nov. 25th, Madame Guerrabella made her first ap- pearauce at the Academy as Leonora. On the 27th, Signora Lorini as Norma. Dec. 4th, Mlle. A. Cordier as Dinorah, with new scenery and costumes. Many other operas were performed this season with great success.

1863 .- January 8th, Grau gave his first opera- night 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 Maretzek'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 Guerrabella 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. t It is an astonishing fact, that since the open-

* CLARA LOUISE KELLOGO won her way into public esteem by hard work and a soul devotion to her glorious art, and occupies at the present time the proudest position ever reached by an American singer. Ths 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 mads her way up the rounds until she is an acknowledged triumph, and in every sense an ornament of the lyric stage.

Her fame preceded her to Europs, and opened the doors of the principal opera-houses for her, as to the most honored guest. Shs sang before the worshipers of the great Patti, Nilsson and Lucca, and still retired covered with laurcls. The brothers Strakosch, whils hunting in Europs for their annual novelty, could 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 homs a native hird. It takes but a few words to explain her abilities as a singer. "She does not astonish you; she does what is far better-shs delights you." She is natural in every particular of voics-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 quiet styls of acting, which leaves a good impression upon her audience. As any one can admirs a rose or a lily, or can be impressed with the glory of a sunset, or feel awe-struck with the grandeur of an Alpine scene, so it is with native worth on the stage. An audience 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 true genius of song, and appreciates its real value, and the power that breathes it forth, as the humble Swiss peasant appreciates ths sublimity of his mountains of eternal snow.

t MRS. VAN ZANDT was born in the City of New York, January Ist, 1845. She studied in New York under 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 success before crowded houses, composed of the musical dilettanti and the best critics, more than sustained the an- ticipation of those who had frequently heard her in private. The press spoke of her efforts as delicately 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 Lamparte. 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 House. In the winter of 1867 and 1868 she appsared 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 laurels

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 Opera Troupe," and made her first appearances in English opera on the 9th of October, at the New York Academy of Music. Balfe's opera of "Satanella " was chosen for the occasion; Madame Van Zandt was received with great applause, 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, no less than four American prima donnas made their first great success in Brooklyn, aud 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.

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The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 119

Author: Stiles, Henry Reed, 1832-1909, ed Publication date: 1884 Publisher: New York, W. W. Munsell & Co Number of Pages: 1345

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345