History of the city of Columbus, capital of Ohio, Volume II, Part 108

Author: Lee, Alfred Emory, 1838-; W. W. Munsell & Co
Publication date: 1892
Publisher: New York and Chicago : Munsell & Co.
Number of Pages: 1196

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In Washington City the Jenny Lind concerts were attended by all the prin- cipal dignitaries of the government, from President Fillmore down. At the opening of one of the parts Jenny Lind sang Hail, Columbia, and so thrilled was Daniel Webster, who was present, with the notes of the grand anthem, that at the close of the first verse, he rose, we are told, and involuntarily joined with his deep sonorous voice in the chorus. Mrs. Webster, who sat immediately behind him, " kept tugging at his coattail to make him sit down or stop singing, but it was of no earthly use." At the close of each verse the Massachusetts statesman joined in, and "it was difficult to say whether Jenny Lind, Webster or the andience was the most delighted."

Early in 1851 efforts were made to induce Jenny Lind to give oue concert in Columbus. On April 14 these endeavors were rewarded by the following assur. ance from Cincinnati, to R. E. Neil :

Jenny Lind will give a concert at Columbus July 4. Owing to prior engage- ments our offer of $10,000 would not induce Barnum to come until then .- A. Reed.

On April 14 all the expectations raised by this dispatch were dashed to pieces by the following from Mr. Barnum :

Please say there is no probability of Jenny Lind ever singing in Columbus or any of the lake cities, all reports to the contrary notwithstanding. Strong inducements are offered us to go to London on the first of June.

Nevertheless, an engagement for the coveted concert was finally concluded and on November 1, 1851, the following announcement was made :

Mademoiselle Jenny Lind will have the honor to give a Grand Concert in the City of Columbus on Tuesday evening, November 4, 1851, assisted by Signor Salvi, Signor E. Belletti, Mr. Joseph Burke. Conductor, Mr. Otto Goldschmidt. Particulars hereafter.

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The place chosen for the concert was the Odeon Hall. The tickets were limited in number, so that each purchaser might be sure of a seat, and were sold at four, three and two dollars according to location. The sale was made by an authorized agent. Before noon of November 3 all the places were taken. The programme opened with a clarionette fantasy by Belletti on themes from The Daughter of the Regiment. Next came an aria by Salvi from Auber's Massaniello, after which Jenny Lind appeared and sang the air Come unto Him, from Han- del's Messiah, which was accompanied by a violin obligato by Mr. Joseph Burke. The second part of the concert opened with violin variations by Mr. Burke on one of Schubert's melodies, after which Jenny Lind sang a cavatina from Meyerbeer's Robert le Diable. Salvi followed this with an aria from Donizetti's La Favorita, after which Jenny Lind sang her famous " Bird Song," by Taubert. Her concluding songs, after another clarionette fantasy by Belletti - from Bo- hemian Girl - were John Anderson My Jo, and Comin' Through the Rye.

At the same place, on Wednesday evening, November 5, a second concert took place, which Mr. Joseph Burke opened with a violin fantasy on themes from Bellini, followed by Salvi with an aria from Donizetti, after which Jenny Lind sang the air, On Mighty Pinions, from Haydn's Creation. A piano fan- tasy on themes from Massaniello, by Mr. Goldschmidt, next followed, after which the aria Casta Diva, from Norma, sung by Jenny Lind, closed the first part of the concert. The second part opened with a clarionette fantasy by Belletti, on themes from Lucretia Borgia, followed by the Gypsy Song from Meyerbeer's Camp in Silesia, by Jenny Lind. The next two pieces were a cavatina by Salvi, from Lammermoor, and a piano fantasy by Mr. Goldschmidt, on American melodies, after which Jenny Lind sang Auld Robin Gray, followed by a violin caprice by Mr. Burke on one of Beethoven's melodies. The perform- ance closed with Home, Sweet Home, and a Norwegian Echo Song sung by Jenny Lind. As to the musical qualities of these concerts, and the manner in which they were received, about all the information we have from print is the following from the Ohio State Journal .

We are sure we speak the general voice of those who had the pleasure of hearing her [Jenny Lind] when we say she fully equaled the expectations of her audience. The first concert was given Tuesday night. . . . It was the most brilliant, best dressed [the dress of the audience was, of course, a matter of the first importance], and best looking house we have ever seen in Columbus. . . . At the appointed hour Jenny Lind appeared on the stage, and was greeted with that hearty and general applause which bespoke their appreciation of her high character as an artist and a woman. Her appearance was very attractive. Those who know her will say she has a bad looking nose [another important fact] but nobody ever notices this when she is on the stage. [The able reporter, however, noticed it.] .. . Of her singing we have little to say. [Of course not ; after the clothes of the audience and the nose of the songstress had been " noticed " there was not much left to say. ] It was magnificent, far surpassing that of any artist that ever before visited Columbus. . .. The Bird Song, John Anderson My Jo and Coming Through the Rye were the gems of the evening, and they were all of them gems of the first water. .... The animation, the birdlike notes that were uttered, the rapid transition from the bottom to the top of the scale [in the Bird Song], and the exceeding puri y of tone and correctness of every note were truly astonishing and car- ried away the audience in a perfect storm of applause that only ceased by her reappearance on the stage. We noticed that she enunciated the words of the English songs very dis- tinctly. ... The large collection in front of the public offices, and opposite the Odeon, appeared to enjoy the singing exceedingly, and had the good taste to cheer just at the right time. We are informed that about one thousand persons, a large number of whom were females, occupied the streets and sidewalks in the vicinity of the Hall. . . Last night [Nov- ember 5] Jenny Lind gave her farewell concert here. The evening was unfavorable, but the house was well filled. The performance throughout was most acceptable. Jenny never sang better. Her Auld Robin Gray drew tears from many eyes. The Herdsman's Song was the last and best. The dying melodies of her voice will linger in many ears as a thing of joy to be remembered for life. When Burke was encored in one of his fine pieces of melody on Wednesday evening he played the Last Rose of Summer in the most beautiful style we

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have ever heard a piece of music performed. The large house was silent s ) that every sound of its sweet and pure melody could be heard.

From the proceeds of this second concert Jenny Lind donated the sum of fifteen hundred dollars to the Capital University.3

At the Odeon, in 1851, Mrs. Seguin gave a concert on June 23 and Made- moiselle Teresa Parodi, assisted by Maurice Strakosch, gave one on June 30, which was repeated July 1. On August 9, same year and place, a " grand lyric entertainment" was given by Madame Anna Bishop. This performance con- sisted of an operatie scene from Donizetti. Dan Rice's circus, very notable at that time, visited the city in September.

The fourth festival of the North American Sangerbund was held at Stewart's Grove June 4 and 5, 1852. On Saturday, June 5, the musical society marched in parade and gave an evening concert at Neil's New Hall. The programme of this concert as printed in the newspapers, was as follows: 1, Overture by Machold & Goodman's Band : 2. Welcome, Columbus Mannerchor : 3, Singers' Banner Song, entire Chor : 4, Bell Sounds, Cincinnati Sängerbund : 5, The Singer, Cincinnati Liedertafel : 6, The Chapel, entire Chor. Part II : 1, Potpourri, by the various bands ; 2, Hearken, My People, entire Chor : 3, The Three Loveliest Life Flowers, Dayton Sanger- bund : 4, The Hunter, Columbus Mannerchor; 5, The Singer's Joys, Lonis- ville Liederkranz: 6, Waltz, entire Chor. At the Grove on June 7, gymnastic exercises took place and speeches were made by Messrs. Reinhard, Neil, Dennison, and Galloway. In the evening a banquet and ball, preceded by a parade, took place at the City Hall.

On November 19. 1852, a "farewell concert" by Ole Bull, under direction of Maurice Strakosch. took place at Neil's Hall. The most interesting incident connected with this concert was the appearance in it - first appearance in Co- lumbus - of Adelina Patti, then a child of eight years. The pieces assigned to her were Happy Birdling of the Forest, the rondo finale from La Sonnambula, Comin' Through the Rye and Jenny Lind's Echo Song. Tickets for this concert were sold at one dollar each. The performances elicited the following news- paper comments :4

Since the glorious concerts of Jenny Lind we have had nothing that will compare with the concert at the New Hall on Friday evening. The room was densely filled at an early hour. . .. Of Strakosch we have had occasion to speak heretofore. We regard him as the most brilliant and accomplished pianist that ever visited Columbus. . . . Little Ade- lina Patti is a gem. We had read what we thought extravagant praises of her genius and skill, hut before the evening was spent we were forced to confess that they were no more than just. Of course a little girl eight years old can not have the power of Jenny Lind or Parodi, but the skill and grace of her execution were astonishing. She would run up and down the scale, touching notes on the road with a clearness and purity of tone that were truly astonishing. Coming Through the Rye was song with great beauty. The peculiar wavy, graceful and arch tone which Jenny Lind gave this rare Scotch song was perfectly imitated hy little Adelina. The Echo Song was beautifully executed. She is a prodigy, and bids fair to be a star of the first magnitude.

Ole Bull equaled the expectation of the audience in every respect. Physically he is a fine specimen of a man. His tall yet well developed and graceful form and pleasing countenance gain bim good will at the start. Of his music it is folly for us to write. . . . It is impossible to conceive a more perfect command over that instrument [violin] than he possesses The wonderful power of playing three or four distinct parts at the same time he has bevond all other living men. The rapidity of execution, the liquid melody of tones, &c., were matters of admiration to the large and attentive audience.

Of course from such a report as this very little idea can be obtained of Ole Bull's wonderful music. The report has historical value only as an indication of the impressions which that music made. A second concert by Ole Bull and the child Patti was given at Neil's Hall on December 21, 1852, and, we are told, was

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" well attended." The pieces assigned to Patti in this concert were the grand aria in Verdi's Ernani, Home Sweet Home, an English ballad, Trip! Trip! Trip ! and Jenny Lind's Echo Song. Ole Bull played variations on Bellini's Romeo and Juliet, a caprice, and the Carnival at Venice. The Ohio Statesman said of this concert :

The audience went into ecstacies over every part of the entertainment. Strakoscli was listened to with delight, and la petite Patti was rapturously encored at the conclusion of each of her beautiful songs. She is certainly the greatest little wonder in the musical world. . . . By request. Ole Bull played the sweetest of all his productions - the Mother's Prayer. In our opinion it was the gem of the evening and brought tears to the eye of man- hood in every part of the house.

In 1853 the city was visited by the Swiss Bellringers, Burke's Pantomime, the Ossian E Dodge concert troupe and Rivers's Circus. During the performances of the latter on July 4 a large number of seats fell, severely injuring several per- sons. A small theatre called Waleutt's Museum was opened in December under the management of A. McFarland. W. S. Forrest, F. Kent, J. B. Hackett and J. H. Jenkins played there with considerable success. A very popular song of this year was the touching and musically beautiful Irish melody known as Katy Darling, the simple and artless words of which, as illustrating the musical taste and spirit of the period, are here reproduced :

" Oh they tell me thou art dead, Katy darling, That thy smile I may nevermore behold ! Did they tell thee I was false, Katy darling, Or my love for thee had e'er grown cold ? Oh, they know not the loving of the hearts of Erin's sons When a love like to thine, Katy darling, Is the goal to the race that he runs.

Oh hear me, sweet Katy, For the wild flowers greet me, Katy darling, And the lovebirds are singing on each tree; Wilt thou nevermore hear me, Katy darling ? Behold, love, I'm waiting for thee.

" I'm kneeling by the grave, Katy darling ! This world is all a blank world to me ! Oh could'st thon hear my wailing, Katy darling, Or think, love, I'm sighing for thee ! Oh, methinks the stars are weeping, by their soft and lambent light ; And thy beart would be melting, Katy darling, Could'st thou see thy lone Dermot this night.

Oh, listen sweet Katy ! For the wild flowers are weeping, Katy darling, And the lovebirds are nestling in each tree ; Wilt thou nevermore hear me, Katy darling, Or know, love, I'm weeping for thee !

" "T'is useless, all my weeping, Katy darling ! But I'll pray that thy spirit be my guide, And that when my life is spent, Katy darling, They will lay me down to rest by thy side ; Oh, a huge, great grief I'm bearing, though I scarce can heave a sigh, And I'll ever be dreaming, Katy darling, Of thy love every day till I die. Farewell, then, sweet Katy ! For the wild flowers will blossom, Katy darling.

And the lovebirds will warble in each tree, But in heaven I shall meet thee, Katy darling, For there, love, thour't waiting for me."

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HISTORY OF THE CITY OF COLUMBUS.

A companion song to this, very popular though less charming in music or sentiment, was that kuown as Lily Dale.

In December 14, 1853, a third concert by Ole Bull and Patti, under leader- ship of Manrice Strakosch, took place at Walcutt's Hall. Patti sang a cavatina from Verdi's Ernani, Comin' Through the Rye and Jenny Lind's Echo Song. Wal- cutt's Museum, at this time known as the People's Theatre, opened with a new company on January 30, 1854. A concert by M. Jullien and Anna Zerr was given at Neil's Hall April 27. On December 4 a " grand musical festival " was given at Neil's Hall by Ole Bull, assisted by Maurice and Max Strakosch and others, under leadership of Max Maretzek. The city was at this time in very sad need of an auditorium suitable for concerts and theatrical performances. The Ambos Hall was used for such purposes in the winter of 1849-50. Various projects for the erection of a new theatre were discussed during the year 1849; finally, in May, 1855, a lot 623 x 1873 feet, owned by Robert Neil, and described as being adjacent to the residence of Robert McCoy on State Street opposite the Capitol, was bought for the purpose of erecting a theatre by Kinney, Burrell & Co. The price paid was 88,000. A theatre which took the name Dramatic Tem- ple was built on this ground during the spring and summer of 1855 and was opened with its initial performance on the twelfth of the ensuing September. Its architect was N. E. Lovejoy. its superintendent of construction J. Boswell, its seating capacity 1,500. John M. Kinney was its general manager and W. S. Forrest its stage manager. The play at its opening was a comedy entitled Honey- moon, which was followed by a farce called State Secrets. The members of the stock company engaged for the season were Mesdames Deering. Powell, Hanebett and Hogan, Misses Deering, Armstrong, Duncan, Jerome and Fouks, Messrs. D. Hanchett, W. L. Forrest. F. L. Kent, D. Vandeering, H. Gosson, D. Healey, G. A. Pratt, M. Deering, C. Lovett, R. E. Miles, C. W. Powell, A. H. Seaman and B. Castleton, and " the much admired and fascinating danseuse, La Belle Oceana." The dropcurtain of the stage, painted by S. W. Gulich, was much admired. In the presence of a full house the opening performance began with the Star Span- yled Bunner, sung by the entire dramatic corps. Miss Deering, who appeared as the Goddess of Liberty in the singing, next read a poetical opening address writ- ten by a member of the Columbus bar.' In the first lines of this address the pur- poses of the new dramatic enterprise were thus sketched :

" Friends of the stage! we greet you here tonight ! With hearty hopes, and with predictions bright ! You will not fail to lend a gen'rous aid, Our purpose known, our objects fairly weighed. What is it then, that, cheered by your kind smile, We hope to do ? To win the meed of toil ; To turn awhile from Labor's wearing round To sparkling wit and Music's gladsome sound ; To take from Trade its brow of moody care, And set the grace of kinder feeling there ; To Fashion's votaries show a nobler life Than that they waste in Splendor's heartless strife ; To teach e'en Beauty how supreme a grace Is lent by Fancy to the loveliest face ; The prond to humble and the low to raise By bright example of the hero days ; Not one fresh virtue of the soul to blight, While vice turns fearful from the appalling sight Of his fell image, dark as hell and night."

John Allenz

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A tragedy entitled Airdvoirlich, written by Hon. R. B. Warden, was performed at the Dramatic Temple on December 12, 1855, for the benefit of Mr. Hanchett. The reception of this play is said to have been cordial and its success gratifying. Its leading character is smitten with a terrible fancy that he is " cursed with the gift of second sight." After its first representation the play was materially changed by its author and was performed on two additional occasions at the Dra- matic Temple.

On December 13, 1855, a grand concert was given at Neil's Hall by Mademoi- selle Teresa Parodi. Miss Matilda Heron filled an engagement at the Dramatic Temple early in 1856. Mrs. Macready, an English actress, and Mademoiselle Camille Urso, a famous violinist, gave an entertainment on Jannary 6, same year, at Neil's Hall. Mrs. Duffield, nee Wemys-, appeared at the Dramatic Temple as Parthenia in Ingomar on Jannary 26 ; at the same place on February 4 Julia Dean Hayne - the Julia Dean of the old Columbus Theatre -- appeared in The Hunch- back. Ole Bull gave another concert in Columbus on February 15. Miss Maggie Mitchell filled an engagement at the Dramatic Temple in June and July. Miss Caroline Richings appeared in concert at Columbian Hall on Angust 25. Han- chett & Duffield became lessees of the Columbus Theatre [Dramatic Temple] in the course of the year. In March, 1856, the Columbus Beethoven Association was organized. Its purpose was stated to be to improve the popular musical taste and to exterminate " the Uncle-Ned and Oh Susanah sort of music." On December 14, 1856, the Ohio Statesman announced that the Columbus Theatre had " deceased." Gradually, said the Statesman, " it sunk lower and lower until last week when it was thought that equestrian exercise [the play of Dick Turpin in which a trick horse was introduced] might resuscitate it. No, it was too far gone." The States- man broadly intimates that the institution owed its misfortunes chiefly to gift concerts and plays in the nature of lotteries. In January, it was reopened by Broderick & Oakley as lessees, with Thomas Oakley as manager. A few weeks later the concern was advertised to be sold on March 25 by the sheriff.

In 1857, S. Thalberg - M. Strakosch director - gave a concert at Neil's Hall ; at the same place, on May 27, a like performance was given by Madame Anna de la Grange. On December 19, same year, the Thalia Verein performed Vou Weber's opera, Preciosa, at Carpenter's Hall. The Mannerchor took part and Professor Nothagel led the orchestra, which was that of the Beethoven Associa- tion. On December 25, 1857, the Columbus Theatre passed under the proprietor- ship and management of Ellsler & Vincent. C. W. Couldock, in Shakespearean parts, occupied its stage in Jannary ; its principal star in February was Miss Matilda Heron. On May 22, same year, a musical entertainment was given at the Concert Hall by Sigismund Thalberg and Henry Vieuxtemps Maggie Mitcheli, who was a great favorite, returned in June. During the summer of this year, and several subsequent ones, open air concerts were given on the Capitol Square by Goodman's Band, which had been organized some years previously. Mckean Buchanan closed an engagement at the theatre in May ; soon after this we hear that the establishment had again fallen into financial trouble. Karl Formes's troupe and orchestra appeared at Concert Hall on September 28. On November 2 the Thalia Verein gave a performance of Schiller's Robbers.

In January and February, 1859, engagements were filled at the Columbus Theatre by Ada Isaacs Menken. Miss Matilda Heron played four nights on the same stage in March. The managers of the theatre were Ellsler & Vincent. The Beethoven Association gave its fourth annual concert in March. The Parodi Italian Opera Troupe appeared on October 28 at Armory Hall. The entertain - ment consisted of selections from different operas. In February, 1860, Lola Montez, "Countess of Lansfeldt," delivered a lecture on Fashion at the Odeon. In July, same year, the city was visited by Van Amburg's Circus and in Novem-

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HISTORY OF THE CITY OF COLUMBUS.

ber following John C. Heenan, the famous New York pugilist, gave an exhibition at Armory Hall. A concert by Adelina Patti at the same place December 6 was attended by " a fair audience." On January 15, 1861, the theatre on State Street was reopened under the management of T. L. Donnelly, lessce. The opening play was The Hunchback, in which the part of Julia was taken by Miss Cramp- ton. At Armory Hall concerts were given by the Cecilian Verein, a new organ- ization, on April 8, and by Madame Anna Bishop and Edward Seguin in Decem- ber, 1861. Apollo Hall was opened during that year in Kannemacher's building on South High Street, and became the headquarters of the Thalia Verein. Naughton's Hall was opened to the public in February, 1862. The Alleghanians gave a concert there on February 6. Dan Rice's and Van Amburg's circuses were among the traveling exhibitions of 1862. Mrs. Chanfrau made her first appearance in Columbus on February 3. James E. Murdock gave readings at Naughton IIall February 14. The Webb sisters -- Emma and Ada -- were among the star players on the State Street stage in September. A concert was given by Carlotta Patti and L. M. Gottschalk at Naughton Hall December 6.

In January, 1863, the State Street theatre was reopened, with an improved interior, under the name of The Atheneum, John A. Ellsler manager. Mr. and Miss Couldock were its stars in March. Gottschalk and Brignoli gave a concert at Naughten Hall December 4. Miss Caroline Richings took a benefit at the Atheneum December 11. Waleutt's Museum came to an end on November 4, after an existence of fifteen years.

In 1863 the erection of an opera house, afterwards variously known as Comstock's and the Metropolitan, on South High Street, was begun by Benjamin E. Smith and Theodore Comstock. The building was completed in 1864, and was first opened to the public on September 9 of that year. Its architects were J. C. Auld & Son : its seating capacity was twelve hundred. The auditorium measured 86 x 110 feet from wall to wall; the stage was thirtysix feet deep. The opening performance in this building was that of Verdi's Il Trovatore. On December 30 Miss Laura Keene appeared upon its stage as Lady Teazle. One of its leading dramatic figures early in 1865 was Olive Logan. On February 20 of that year the De Beriot Club gave a concert at the Opera House for the ben- efit of the Orphans' Home. Blind Tom, the negro pianist, gave a performance at the Atheneum August 14. He frequently returned to Columbus afterwards. Lawrence Barrett appeared upon the Opera House stage on September 8 in Merchant of Venice. Miss Caroline Schneider, a Columbus pianist, gave her first concert on October 20 at Naughten Hall. Miss Clara Morris, who began her dramatic career in Columbus, made her initial appearance in the city as leading actress on September 2. Among the November stars on the Columbus stage were Mr. and Mrs. Charles Kean. On December 25 a Christmas oratorio was sung by the Mendelssohn Club.

In Columbus, as in other military centers during the Civil War, the tone and character of the drama were much impaired by the prevailing tendency to cater to purely military tastes and adopt the mannerisms and current expressions of the camp. Some of these expressions were far from being refined ; they were not even decent. They were tolerated while hostilities lasted, but after the war closed a better taste began to assert itself, and demanded their discontinuance.

Among the theatrical stars which appeared on the Columbus stage in 1866 was Edwin Forrest, supported by Miss Lillie and John Mccullough. In June, 1866, an operatie performance was given at the Opera House by an Italian com - pany under the direction of Max Strakosch.

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History of the city of Columbus, capital of Ohio, Volume II, Part 108

Author: Lee, Alfred Emory, 1838-; W. W. Munsell & Co Publication date: 1892 Publisher: New York and Chicago : Munsell & Co. Number of Pages: 1196

Author: Lee, Alfred Emory, 1838-; W. W. Munsell & Co
Publication date: 1892
Publisher: New York and Chicago : Munsell & Co.
Number of Pages: 1196