Rivarde Musical Club Concert

“A truly brilliant and fashionable audience assembled last night at this hall to patronize the concert of the Rivarde Musical Club, a sort of half amateur, half artistic arrangement, which comes up periodically before the public for recognition. The audience seemed to be en rapport with the performers, to judge from their persistent enthusiasm from beginning to end. There was an excellent orchestra present, one that would do credit to any concert; also a violinist of rare ability, one Dr. D---, who did full justice to one of Vieuxtemps’ complicated caprices. The instrumental part of the programme was the best, the vocal being entirely inferior to it. For instance, the tenor, Mr. Johnson, ought never attempt to sing Di quella pira, expecially when he essayed last night that terrible ut de poitrine. Lefrancs and Tamberliks are rare nowadays, and we do not think that this worthy tenor can ever feel at home in the regions of the high C. One of the members sang a cavatina from ‘Beatrice di Tenda,’ instead of the Ah! mon fils, set down in the programme. The duet from ‘Belisario,’ sung by tenor and basso, was not calculated to produce a favorable impression of either voice. Mr. Vilanora played one of Weber’s concertos (not the ‘Concertstuck’), with neatness and elegance, but not with the power one would look for in the execution of such a work. Madame Salvotti sang the same aria that she made such a hit in at the concert of the Berge Choral Union—the grand aria in the first act of ‘Poliuto.’ She has one of those clear, ringing soprano voices, with a pure Italian method, which makes itself felt in the concert room. The quartet from ‘Puritani’ was ineffective on account of the absence of ensemble and general unanimity between the four singers. The tenor was particularly at variance with his three companions and took liberties which Bellini would never have tolerated. The orchestra was unexceptional in every respect and formed a pleasant contrast to the concerted pieces in the vocal programme. We cannot say that we admire these semi-mutual admiration societies, for they do not serve the cause of true art. None of the performers can feel that responsibility that strict criticism and an impartial audience would entail upon them, and consequently they both attempt works beyond their power, and what they do know they execute with reprehensible carelessness.”