[Met Concert or Gala] CID:18010



Eighth Grand Sunday Night Concert
Metropolitan Opera House, Sun, January 10, 1897




Eighth Grand Sunday Night Concert



Metropolitan Opera House
January 10, 1897

EIGHTH GRAND SUNDAY NIGHT CONCERT

William Tell: Overture

Mignon: Connais-tu le pays
Denza: Vous ne m'aimez pas (encore)
Laura Louise Wallen [Only appearance]

Victor Mass?: Galath?e: Tristes amours
Pol Plan?on

Anton Rubinstein: Bal Masque: The Evening Star

Le Nozze di Figaro: Non so pi?
Emma Eames

Saint-Sa?ns: Pha?ton

Le Cid: Madril?ne (Spanish Dance)

Gotschalk: La Gallina (Cuban Dance)

Pauline Viardot: Les grands oiseaux blancs
Scottish song: Highland Laddie (encore)
Laura Louise Wallen

I Puritani: Suoni la tromba (climax repeated)
Giuseppe Campanari
Pol Plan?on

Schubert: Die Allmacht
Delibes: Les filles de Cadix (encore)
Arthur Goring Thomas: Avril (encore)
Emma Eames

Die Walk?re: Ride of the Valkyries

Conductor...............Anton Seidl
Conductor...............Louis Saar

Piano...................Amherst Webber

It is likely that Anton Seidl conducted the works for orchestra alone,
Louis Saar the works with orchestral accompaniment, and
Amherst Webber the works with piano.






It is likely that Anton Seidl conducted the works for orchestra alone,
Louis Saar the works with orchestral accompaniment, and
Amherst Webber the works with piano.

Review 1:

Review in the New York Sun

THE METROPOLITAN CONCERT

Miss Wallen and Mme. Eames Aroused the Audience to Great Enthusiasm

The Sunday evening concert in the Metropolitan was, as usual, fully attended and earnestly enjoyed. Pleasure is enhanced on these occasions by the fact that one meets the artists in their own personality and regards them as friends rather than as suppositious characters occupied with the passing events of the drama they are rendering. Then, too, the variety of a miscellaneous program stimulates interest. Mr. Seidl keeps his selections well over upon the side of popularity. Last evening the breezy altitudes of Switzerland shone forth in the overture to "William Tell," we were sped through space with "Phaeton" in the symphonic poem of Saint-Saens, and we rode amid clouds with the Valkyria. Besides this, Spain and Cuba stood side by side, if not hand in hand, by the juxtaposition of national dances by Massenet and Gottschalk. Mme. Eames, Miss Laura Wallen, Plan?on and Campanari were the soloists and most artistic singing was the result.

Miss Wallen, who is almost a newcomer to our halls of song, has but lately returned from her studies in Europe, which were more than commonly industrious and severe. M. Bouhy Garcia, Mme. Viardot and others were her teachers, the first named giving her always the playful title of "La petite travaileuse." From this it may be gathered that her method is strictly formed, and that whatever she attempts shows distinctly the marks of thought, routine, perseverance and other admirable characteristics of a determined character. She sang "Connais tu le Pays" from "Mignon," a difficult task at all times. Being encored she sang "Vous ne m'aimez pas" by Denza and, after her second selection, a song by Mme. Viardot. She received a second encore, to which she responded by a setting of the Scotch poem. "O My Laddie." That the audience received Miss Wallen with favor will be seen by this record.

Campanari and Plan?on roused the house to frantic demonstrations by their splendid performance of "Suoni la Tromba" with its beautiful introductory airs. They were obliged to repeat the telling climax and were recalled again and again. In fact, encores are the rule at these Sunday concerts, but withal they do not seem too long.

To Mme. Eames must be accorded the highest possible meed of praise for an artistic triumph - a triumph of the highest order, since she evidently forgo her own personal effect in enthusiasm for Schubert's immortal song "Die Allmacht."

Her singing of this was so noble, so full of true inspiration, that it threw a new light upon the sincerity of her love for her art, showing plainly as it did her appreciation of the grandeur of the composition and that she used it for its own great sake even more than as a vehicle for the display of her voice, which, however, it did cause to appear to the fullest advantage. Mme. Eames also sang an air from Nozze di Figaro, "Les Filles de Cadix," by Delibes, and a "delicious" song by Goring-Thomas, "Avril."



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