Instrumental and Vocal Concert: Jennie Landsman Benefit

“The complimentary concert tendered to Miss Jennie Landsman, at Irving Hall, on Monday evening, was but a partial success. The elements were propitious, but not the volunteering artists. There was a marked and wholly unexplained discrepancy between the programme circulated among the audience and that executed by the talented young mezzo-soprano and Mr. Egbert Lansing, pianist, with whom the musical responsibilities of the evening rested. The concert opened precisely 30 minutes later than the hour announced. Mr. Lansing was set down in the bills for an original Fantaisie on ‘La Traviata,’ but the introductory solo was vouchsafed instead by Mr. Ignatz Pollak, the lugubrious baritone who at certain seasons of the year haunts Steinway and Irving Halls. Melancholy long since ‘marked Mr. Pollak for her own,’ and the spirit of despair bears his tuneful Muse constant company. After this initiatory essay Mr. Pollak put in no further appearance for the rest of the evening, although we expected Kucken’s ‘Tear’ from him, and he was also to have assisted Miss Landsman in the ‘Favorita’ duet, announced as the closing piece. The name of Mr. Wenzel Kopta likewise appeared in the programme, but that deceitful guide to the gems of the entertainment failed to mention the violin selections which Mr. Kopta would play, supposing that he played at all, which he did not, for the very sufficient reason that he had gone to the Chicago Saengerfest. The fact was not made known to the public, but Mr. Kopta’s friends asserted that he had expressly refused his name and services for this interesting complimentary occasion, and that the liberty taken in announcing him was wholly unauthorized. If this be true, Mr. Kopta is relieved of any complicity in this small bit of artistic humbug. It strikes us that a more extended apology was due the audience than Miss Landsman saw fit to make when she announced the sudden adjournment, sine nocte, of the concert, in consequence of Mr. Pollak’s unexplained refusal to fulfill his engagement. Was Miss Landsman ignorant of the fact that Mr. Kopta did not perform the work marked out for him? Of what was sung and played on this singular occasion, it is hardly necessary to speak. Miss Landsman’s voice affords excellent material for the intelligent and painstaking master, and we are glad to know that she has determined to export her talents, for development in the mere genial conservatories of Europe. She sings with too little animation, and with but a poor appreciation of the meaning or sentiment to be expressed. There was no brightness or enthusiasm, nor any variety of expression in her rendering of Siebel’s ‘Flower Song’ (‘Faust’), although the voice told well with the audience, and the inevitable encore supervened. ‘Ah! Mon Fils!’ (‘Prophète’) was her best effort, which can be said without implying unqualified praise. The Spanish characteristic song, popularized here by D’Angri and Gazzaniga, is a rollicking bit far above Miss Landman’s reach, and in attempting it she weakened her prestige. Mr. Lansing, as accompanist and sole pianist, acquitted himself satisfactorily. Miss Landsman sails for Europe in a few weeks, from whence we shall doubtless hear encouraging reports of her progress.”

Miss Landsman’s response to criticism of Kopta’s failure to appear.