Amateur Concert: Prof. Millet Benefit

“The concert given at Irving Hall to Prof. Millet by his pupils, presented good evidence of that gentleman’s capacity as a teacher.  The programme consisted entirely of pieces for the voice, to which Mr. Millet played the accompaniment, and the performances were altogether pleasant, if none of them were phenomenal.  An aria from ‘Galathea’—Masse’s last opera, was treated with excellent appreciation of its florid character by Miss. J. Allen, and a poem of enthusiasm, by M. De Trobeiand [i.e., Trobriand], for soprano, contralto, tenor basso and chorus celebrating ‘Venice,’ (‘Marvel of the Universe,’ as the author names them) were the novelties. The latter had been wedded to graceful strains, now jubilant, now responding, by Mr. Millet and was clearly concisely sung by Miss C. Brailly, Miss M. Bachem, and Messrs. J. Ward and P. Gaudon in the solo parts.  Indeed, conciseness is one of the peculiar merits of execution displayed by all the ladies and gentlemen who took part in this concert and in their avoidance of the amateurish ambition to ornament before they can frame an air, are examples of the rising generation of vocalists. Some very sweet ballad singing was given by Mrs. Arthur, but better contrasts might have been selected to display her capacity than ‘Auld Robin Gray’ and ‘The Forsaken.’ Miss Loomis, who sang ‘Il Bacio,’ has a free voice of good capacity for warm music like that of Arditti’s Waltz, but Miss Moller’s ‘low sweet voice’—(heard at its best in the ‘Voli su l’ali,’ from ‘Trovatore,’) while ‘an excellent thing in common’—is scarcely all that is requisite for Verdi. The entertainment was altogether admirable, however, and the young ladies reflected infinite credit upon themselves and their teacher.”

“Amateur, or rather Pupillary Concerts would be more than tolerable as a rule if they were all as clever as last night’s exhibition of the pupils of Mr. J. A. Fowler, and the recent complimentary to Professor Millet. The chief feature of Mr. Millet’s concert was a chorus entitled Venice, written by the Professor to words by M. de Trobriand, and sung by all the pupils. The composition is in French-Italian style, buoyant, but not powerful. Its arrangement for many voices is effective and very creditable, and its rendering by Mr. Millet’s pupils does him further credit as a teacher. In other respects the concert had an unavoidable amateur tone, compensated for, however, by some meritorious singing, such as that of the duet from Puritani, the air from Victor Massé’s Galathee, the chorus from Elijah, and the ballad of ‘The Forsaken.’ Both pupils and teacher have reason to be gratified with the success of the concert.”