Concert of Mrs. Charlotte V. Winterburn

“Mrs. Charlotte V. Winterburn gave a concert on a rather grand scale last night, at the Academy of Music, and her success in some particulars was greater than one would naturally have expected. She had a good audience, and a very kind one, and she gave, on the whole, a decidedly interesting entertainment. Mr. Theodore Thomas was there to help her with his entire orchestra, and if there had been no other attraction than this alone should have drawn a large attendance. The overture to ‘Tannhäuser,’ the ‘Rakoczy’ march, and a selection from the ‘Midsummer Night’s Dream,’ as well as most of the accompaniments, were played by this superb band with magnificent effect. Mrs. Winterburn’s own pieces were Handel’s ‘Lascia ch’io pianga;’ the great scene from ‘Oberon,’ ‘Ocean Thou Mighty Monster;’ an interesting song, ‘The Message,’ composed by herself, with orchestral accompaniment; a bass song arranged by Howe, entitled, ‘Repose,’ and a ballad for an encore. Mr. M. D. Whitney sang exceedingly well the [illegible] from the ‘Magic Flute,’ a breezy nautical piece by Randegger, and the ‘Three Fishers.’ There were also two artists new to our concert rooms. One was Herr Benno Walter, a young violinist from Bavaria, who is making a short visit to America. He has a great facility of execution, a true intonation, a clear, but rather thin tone, and a beautiful, delicate, and sympathetic style, which was especially admired in the first and second movements of Spohr’s concerto in D minor. The other was Mr. Adolphus Lockwood, an admirable solo harpist, who has recently arrived from London.”

“Mrs. Charlotte V. Winterburn, formerly known as Miss C. V. Hutchings, gave a concert at the Academy of Music last evening. The singing of Mr. M. W. Whitney, of Boston; the violin performances of Herr Benno Walter, a young artist whose left hand is quick and sure, and whose tone is sweet and clear, though not powerful; the clever harp playing of Mr. Adolphus Lockwood, and the contributions of Mr. Thomas’ orchestra supplied an excellent entertainment. Mrs. Winterburn’s efforts do not call for criticism.”

“Those who were at the Academy of Music last evening heard a very excellent concert. It was given by Mrs. Charlotte V. Winterburn (late Miss Hutchings), and we suppose was intended to mark the progress that this lady has of late made in her art, she having become, first as pupil and now as teacher, the exponent of the results of Dr. Streeter’s system for the mechanical formation of the voice. Mrs. Winterburn had the assistance of Theodore Thomas’s orchestra, as well as of Mr. Myron W. Whitney and Herr Benno Walter, a violinist.

The appearance of Mr. Whitney in our concert rooms is a matter on which we may sincerely congratulate ourselves. There is no American bass singer who has his gifts or acquirements to an equal degree. He has long been identified with the Handel and Haydn Society of Boston, taking an honored part both in their concerts and festivals. In England lately he acquitted himself greatly to the credit of his country. He has a voice of fine quality, and needs only more fervor to be almost a great artist. There is too much repose in all that he does.

Herr Benno Walter is an artist entirely new to our public. He was announced upon the programme as violinist to the King of Bavaria, and this was his first appearance in America. He is quite a young man, and one who has a fine future before him in his profession. He played Spohr’s concerto in D minor, and exhibited all the qualities of a violinist possessed of refined feeling, a correct intonation, and much repose and dignity of style. His execution is not so facile as that of some of the older players, and he is more formal and has less spontaneity than Sarasate for example, being of the classical order of players, but he is a man to be listened to with attention, respect, and pleasure. A marked feature of this concerto was the part that the orchestra took in the accompaniment. Never, we venture to say, has any orchestra in the Academy of Music accompanied a concerto with such a fine sympathy of feeling, such exquisite delicacy of coloring, and, in the piano passages, with such gentleness and forbearance. The unity of the players was remarkable, the bows were drawn as by a single arm, and the reeds were blown as by one breath. It is a supreme satisfaction to listen to such conscientious work.

Mrs. Winterburn’s share in the concert remains to be spoken of, and we should be heartily glad to be able to use words of unreserved praise concerning it. But we do not find this lady to be possessed of a good method. She sang Handel’s ‘Lascia ch’io piango,’ which requires from the singer a full, rich, even tone, sustained power, and depth of feeling. Mrs. Winterburn sang the recitative which precedes the aria but indifferently well; nor did her rendering of the aria itself redeem the bad impression created by the faulty prelude. We believe that Mrs. Winterburn is more strictly in her sphere as a teacher than as a concert singer.”

“There were two musical events last evening—one at the Academy of Music, the other at Steinway Hall. Both were pretty well attended, showing that the New York public are prepared to patronize all that is promising in the musical line. In neither case were they disappointed, or to modify this statement, there were features in the two concerts sufficiently attractive to satisfy the people present.

At the Academy Mrs. Winterburn gave a concert. This lady has been heretofore favorably known to the New York concert-goers as Miss Charlotte Hutchings. She has also made a very enviable impression in oratorio. She had last evening the assistance of Thomas’ orchestra, a feature strong enough to insure a good house. The fifty member of this unapproachable band were in full dress and as obedient to the baton of their leader as ever Mustard Seed and his companion sprites were to the beck of Titania. The ‘Tannhauser’ overture, the lovely scherzo from ‘The Midsummer Night’s Dream,’ the ever-welcome ‘Oberon’ overture and Liszt’s ‘Racoksy March’ were delivered as only a combination of solo artists could deliver them. Mr. Walter, a young violinist from Europe, played Spohr’s magnificent concerto in D minor, a work which has been too much neglected here, probably on account of the difficulty of getting an orchestra capable of sustaining the soloist. Mr. Walter displayed the qualities of a good artist, with a true, well sustained, if not always sympathetic tone, correct execution, although at times his phrasing was not defined in that sharp, clear manner one would desire, and a certain ease of style that carried him through with a degree of success that few of our violinists can now boast of. Mrs. Winterburn essayed some very ambitious selections, the principal ones being ‘Lascia ch’io pianza,’ by Handel, and ‘Ocean, Thou Mighty Monster,’ from ‘Oberon.’ In neither was she successful. Her voice has become uncertain in tone, so as to give the idea that she does not sing in tune. It has also lost the pure sympathetic quality that once delighted the hearer. We can only account for this change by the ill-advised attempt to change a naturally beautiful contralto voice into a mezzo soprano, or rather high soprano.”

“The other concert [in addition to J. H. Bonawitz’s], on the same evening (Nov. 7), was given at the Academy by Mrs. Charlotte V. Winterborn (nee Hutchings), who is favorably known as a singer in Oratorio. This concert was really entitled to be called ‘grand’—as a miscellaneous entertainment, it could hardly be surpassed. Mrs. Winterburn was assisted by [see above]; but the crowning glory of all was Theo. Thomas’s superb orchestra, looking as fresh as though they had not travelled half over the United States since last summer, and playing, it seemed to me, better than ever. 

The overture to Tannhauser opened the programme. This was followed by the air ‘Que Sdegno,’ from the ‘Magic Flute,’ splendidly sung by Mr. Whitney. This gentleman made a marked impression by his fine voice and artistic delivery. 

Herr Benno Walter followed with Spohr’s long Concerto in D minor. His playing, though not remarkable for breadth of tone, evinced a fine and musicianlike spirit. And a remarkable purity of intonation, which, together with the beautiful manner in which the orchestral parts were rendered, made this concerto one of the most interesting numbers on the long programme.

Mrs. Winterburn sang Handel’s lovely air, ‘Lascia ch’io pianga,’ and was warmly applauded. Selections from the ‘Midsummer Nights Dream’ by the Orchestra and two songs by Mrs. Winterburn, which I could not remain to hear, closed the first part of the programme. 

Part second opened with Weber’s Oberon Overture by the Orchestra, who played also Liszt’s Rakoczy March. Mrs. Winterburn sang ‘Ocean, though mighty monster,’ very dramatically. Mr. Lockwood played ‘La dance des fees,’ by Parish Alvars. Mr. Whitney sang ‘The freshening breeze,’ by Randegger, and Herr Walter played Ernst’s grand Fantaisie on ‘Othello,’ confirming the good impression he made by his first performance. The audience was larger than at the Opera on the night previous, and received an adequate return for their money, which those who attended the Opera did not get.”