Adelaide Phillips Concert: Farewell Benefit

Event Information

Venue(s):
Union League Theatre

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
6 July 2018

Performance Date(s) and Time(s)

12 Jun 1868, Evening

Program Details

Ms. Phillips is leaving for Paris.

Performers and/or Works Performed

2)
Composer(s): Beriot
Participants:  Karl Feininger
4)
aka Non e ver; Tis not true
Composer(s): Mattei
Participants:  Henry [tenor] Stanfield
6)
Composer(s): Donizetti
Participants:  Adelaide Phillips
7)
Composer(s): Schreiber
Participants:  Louis Schreiber
8)
aka Ah, mio figlio; Beggar's song; Prophete. Ah! mons fils
Composer(s): Meyerbeer
Participants:  Marietta Gazzaniga
9)
Composer(s): Pacini
10)
aka Più che non m’ama un angelo
Composer(s): Donizetti
11)
aka Auld Robin Grey
12)
aka Laughing song
Composer(s): Bendelari

Citations

1)
Announcement: New-York Times, 09 June 1868, 4.
2)
Announcement: New York Post, 10 June 1868.
3)
Announcement: New York Herald, 12 June 1868, 7.
4)
Review: New York Herald, 13 June 1868, 5.

“In recognition of her talents as a highly accomplished vocalist, a farewell concert was tendered to Miss Adelaide Phillips last evening, prior to her departure for Europe, by a numerous circle of her friends and admirers, in the theatre of the Union League Club House. There was a large and fashionable attendance, and, altogether, the concert was eminently successful from whatever aspect it may be regarded. The programme opened with a fine violin concerto, which was rendered by Herr Feininger with considerable taste and expression. That gentleman possesses a bold and finished stroke, has excellent manipulation, and plays with much clearness in difficult passages. Donizetti’s beautiful ‘Una Furtiva Lagrima’ was sung by Mr. Stanfield, an amateur tenor, whose excellent voice was just capable of filling the room, and though he at intervals exhibited perhaps a little too much earnestness was nevertheless deservedly applauded. He was somewhat more successful in his subsequent rendering of ‘Non é Ver.’ The appearance of Miss Phillips on the stage was the signal for the unanimous approbation of the audience, and the very cordial manner in which she was received was at once significant of the high estimation in which she is held by those who have been delighted by her excellent performances. ‘Lascia Ch’io Pianga’ (Handel) gave her full opportunity for the development of her splendid mezzo contralto voice; but Donizetti’s charming ‘Son Leggero,’ which succeeded, at once brought into requisition her brilliant powers of execution, and the artistic interpretation which she accorded to that enchanting air evoked the admiration and applause of every one present. The range of Miss Phillips’ voice is very extensive, and the distinctness which she imparts to every note evidences her great musical cultivation. Mr. Schreiber showed himself master of the cornet, a piston, by his performance on that instrument of a pleasing solo entitled ‘Song without Words.’ Madame Gazzaniga’s rendering of ‘Ah! Mon Fils’ was characterized by that lady’s usual refinement of style and sweetness, and was rewarded with loud tokens of approbation. But perhaps one of the greatest specialties of the concert was Pacini’s sparkling duet, ‘Sappho,’ in which Miss Phillips and Madame Gazzaniga combined display unison in its perfection; nor was the former less admirable in the soft and melodious ‘L’Amor funesto,’ with cornet obligato by Mr. Schreiber. The concert was brought to a close by the old favorite, ‘Auld Robin Grey,’ and a capital laughing song by Mr. A. Bendelari, who, relieved at intervals by Mr. Perabeau, presided at the pianoforte. The intense pathos which Miss Phillips imparted to the first mentioned air, the subdued feeling of grief exhibited in its more melancholy passages, the cadence of her rich and mellow voice, the sympathy with which she entered into its abstract reverie, her interpretation of high poetical sentiment—all these points rose above the mere display of vocal art and reached the height and inspirations of a truly gifted artist.  She was greeted with prolonged applause, and bade adieu amid a regular storm of approbation. In the departure of Miss Phillips we are again reminded of the contributions to the lyrical treasures which America has furnished to the Old World, not through any failure of appreciation on our part or any lack of musical cultivation, but simply as resulting from unfortunate operatic management here, whether as a consequence of the interference of stockholders or injudicious direction which has temporarily closed that field for the proper display of those talents given them under a better system in Europe. We have, however, but loaned these artists to our older brethren, and may anticipate their return in time to New York city, destined in the future to be the centre of musical art as it will be pre-eminent in other departments. Miss Phillips’ reception by the audiences of the Old World will be looked forward to with interest by her many friends here, who confidently anticipate for her even greater triumphs than any she has heretofore attained. She leaves to-day for Paris by the steamship St. Laurent.”

5)
Review: New York Sun, 13 June 1868, 1.

“. . .Last evening it was Miss Adelaide Phillips. This time the concert was not an amateur one, but, with the exception of Mr. Henry Stanfield, a professional one, and Mr. Stanfield’s face and voice are becoming so familiar at this theatre that he is acquiring a half professional air, and certainly sings well enough to deserve the other half. Miss Phillips was warmly welcomed by her friends. She always is, for that matter. No greater favorite of the public is upon our operatic stage. She is about to go to Europe, and this concert was a parting and substantial testimonial of regard. Upon the printed list of managers were the names of half the distinguished men of the town—learned judges who couldn’t tell the difference between a composition by Beethoven and one by Bradbury, and merchant princes who, to save their fortunes, couldn’t distinguish between a trombone and kettle drum. They managed it very well, nevertheless, their method probably being to pay punctually for their thickets. Madame Gazzaniga assisted at the concert and sang most charmingly. Especially excellent was the duet from Sappho that she sang with Miss Phillips.

“A violinist, who we have never had the pleasure of hearing before, Mr. Carl Feininger, also contributed to make the concert a pleasant one. He was announced on the programme to play a movement from a concerto by Mendelssohn, but whether he distrusted himself or his audience, we know not, he certainly did not play Mendelssohn, but substituted a meretricious composition of the De Beriot school, which, nevertheless, he played with great facility and skill, especially some rapid descending chromatic passages, which were given with unusual delicacy, distinctness, and purity of tone. The concert was entirely successful, and every one must certainly wish Miss Phillips, with us, a safe voyage and speedy return.”

6)
Review: New York Post, 15 June 1868.

“A beautiful tribute of admiration and respect was paid Miss Adelaide Phillips on Friday night, in a complimentary concert which took place at the Theatre of the Union League Club. The audience which filled the hall was composed of the musical élite of our city, who warmly greeted Miss Philipps, and her assistants, Madame Gazzaniga and Messrs. Schreiber, Stanfield, Feinninger, and Perabeau. Madame Gazzaniga sang ‘A mon fils,’ and the soprano of the celebrated duet in ‘Sappho,’ with purity and delicacy, and with all her splendid declamatory power. Schreiber played the cornet-a-piston with his accustomed sweetness of tone and skill in execution. The violin performance of Mr. Feinninger was marked with artistic facility and expression, while Mr. Perabeau accompanied the singers with taste and discretion. Mr. Stanfield, who sang ‘Una fortiva [sic] lagrima’ and ‘Non é ver,’ is an amateur tenor, much admired in the social circles of New York. His voice is sweet and pure in tone, and in this respect reminds us more of Guglini than of any other of the great tenors of the operatic stage. In quality it is flexible, while his management of it shows earnest study under the best teachers. Of Miss Phillips we repeat with pleasure what we have often said in these columns. It is a delight to listen to her full, round, musical tones. The songs chosen last evening developed the splendid resources of her magnificent organ, which never was more eloquent than in the noble, sententious phrasing of Handel’s ‘Lascia ch’io pianga,’ the vocalization of Donizetti’s ‘Son leggero,’ the pathos of ‘Auld Robin Gray,’ or in the fascinating merriment of her celebrated laughing song.”