Macbeth

“…As to the fact that Shakespeare put songs into the mouths of his witches, that is not to the purpose. Such hags as those that tempted and worried Macbeth did not, in the imagination of any one of us, and we may be sure not in Shakespeare’s, sing in any regular musical fashion, least of all in the tie-wig, priggish style of Matthew Locke’s music, with its little ‘divisions’ running from one part to another, its meagre imitations, and even its fuguelets, all in the cramped and cold old English style. But however written, music for music’s sake in these scenes is an affront to common sense. Even if Weber had written for them, although as music it would have been admirable, as the utterance of Shakespeare’s witches, it would have been insufferable, for it would have given us, instead of incantation, vocalization. But to those who like to hear a good honest chorus fairly sung, no matter where, the performance last evening must have been very satisfactory, as indeed it appeared to be…Mr. Connolly, the musical director, deserves much credit for his admirable and appropriate selection of music.”  

“…It may be well doubted, therefore, whether the Shakespearean music and the chorus of the inevitable hundred voices, more or less, in the witch scenes, added any real attraction to the performance. For our own part, we could have been content to adhere to the traditional three hags, who were very much more dramatic than the crowd of chorus singers, dressed in dominos, who jostle them on the stage in the revival. If the music were of a lighter kind it might be welcomed as a relief from the intense gloom of the tragedy, but it certainly is not very calculated to do so. Its introduction has, however, the merit of being an honest endeavor to present the great English dramatist with completeness, and from this point of view deserves applause. We may well doubt, however, whether those who present him just as he was are his best friends. Judicious pruning is rather an advantage even to so great an author as Shakespeare. The choruses were given with excellent effect, but it cannot be said to heighten in any way the dramatic effect of the tragedy…”

“…The music was made a prominent feature. It was always a parasite, and it adds nothing to the poetic power of the tragedy; nor does a mob of witches in the least augment–even if it does not actually destroy—the weird, fantastic, gloomy suggestiveness of the three hags upon the blasted heath and angry Hecate at the cauldron. The music was sung in an impassioned spirited and very effective manner, by Miss Annie Kemp Bowler, Miss Mabel Lyndon, Miss Pauline Rutherford, Miss Maria Newman, Miss Jennie Dallimore, Miss Tilly Getchell, Miss Therese Phillips, Mr. Charles Pike, Mr. J. C. Chamberlain, Mr. W. E. Phillips, Mr. Charles Telbin and members of the ‘Crescent Singing Society’—Mr. Michael Connelly presiding over the band. The faces of these singers ought to be disguised beyond the possibility of recognition…” Includes cast list.

“…Matthew Locke’s music was sung by a large chorus of witches, and very well sung…”

“The play was well mounted, and Locke’s witch music was well performed by a large by a large and efficient chorus.”

“…Matthew Locke’s original music was sung by a large number of vocalists, expressly engaged for the occasion, and the choruses were given with much effect by the members of the Crescent Singing Society…” Includes cast list.