11
MUSICAL COURIER
May 3, 1923
5,000
HEAR
FRIEDA HEMPEL AS JENNY LIND
AT THE
NEW YORK HIPPODROME
Sunday Evening, April 22, 1923
THE SUN,
NEW YORK TIMES, NEW YORK HERALD THE EVENING WORLD,
The Laurels of a Lind.
Frieda HempeT, who so bl'thely tossed the Metropolitan Opera House over her shoulders a• few seasons ago and started out to be the Jenny Lind of our own day, came to the Hippodrome last night to present there the program sung here by her. Swedish predecessor. Three years ago Mme. Hempel gave us the first of these Jenny Lind concerts In Carnegie Hall, and she has made them by now a feature of seasons of music in many other large communities. It was not hard t-o transform the Hippodrome of 1923 into the Castle Garden of 1823—particularly when period costumes and ancient arias decorated the occasion with so much charm. Miss Hempel herself made a dainty diva of the crinoline days, .and Mr. Coenraaci von Bos at the piano and Messrs. Fritze and Fabrizio, flutists, were decorously masquerading as her contemporaries
Mme. Hempel’s share of the reincarnated program began w׳ith the scena and cavatine “Casta Diva” from “Norma,” which she followed with “The Last Rose of Summer"—a fragrant reminder of the days when shfe sang in a Metropolitan “Marta.” Thereafter she sang Schubert, Schumann, thé Norwegian “Herdsman’s Song,” the fluted aria from “The Star of the North,” Mendelssohn, Taubert's “Bird Song” and the “Greeting to America,” which Bay-prd Taylor and Jules Benedict composed especially for Jenny Lind. And then “Home, Sweet Home,” which Bishop might have composed especially for Frieda HempeTs voice.
NEW YORK TRIBUNE
Hempel in Lind Program, Last Operatic Concert
Hippodrome Soloist and Ttco Assisting Flautists wear Costumes of Period of 5(Ps
Frieda Hempel, wearing a costume announced to be an exact copy of, one worn by the “Swedish Nightingale” in the *50a, gave one of her “Jenny Lind” concerts last night in a well-filled Hippodrome, with a program of that singer's music. Coenraad V. Bos and the assisting flautists, Messrs. Fritze and Fabrizio, were also duly costumed, and while it was hardly possible to hold the* concert in the Aquarium, which Mrais Castle Garden in those days, the Hippodrome curtain was adorned by a blue banner with a Barnum phrase:	“Welcome, Sweet
Warbler.”
Mme. Hempel’s warbling, on the whole, deserved the adjective. An incipient cold had a slight effect on the loudest notes, but at other times the singer's voice flowed with its usual clearness and pleasing impression of ease in “Casta Diva” from “Norma” and songs by Shubert and Schumann. Mile. Lind, Mr. Bos announced, used to accompany herself in the “Norwegian Herdsman” or Echo song, so Mme. Hempel did likewise, showing considerable skill in this dual role. The Meyerbeer aria from “L'Etoiles du Nord” brought a successful vocal contest with two
flutes, with “Dixie” as an encore and various characteristic Lind numbers for the last group.
EVENING POST,
Frieda Hempel. radiant in beauty of person and voice, once more gave eager thousands a chance to hear and see her in her Jenny Lind concert Which she has been giving for a year or two all over the obimtry. She was in good voice at , Hippoarome last night
—what more, need be said?
Frieda Hempel Gives Her Jenny Lind Concert in Hippodrome.
By Frank H. Warren.
Since 'leaying tile Metropolitan Dpeia ranks several seasons־־ back I'rieda Hempel, soprano, has devoted her' enviable talents, to the concert stage. At the celebration here in 1920 of the, centennial of the birth of Jenny land Mme. , Hempel was chosen to impersonate thé famous Swedish nightingale. Mme. Hempel on that occasion was dressed to represent Jenny Lihd, and she sang several of ¡the songs her predecessor had given at her first appearance in this country in 1S50. So successful was Mme. Hempel in this venture that she has entertained numerous audiences throughout th£ country with her •‘Jenny Lind’ Concert.” Last night at tile Hipppdrome Mme. Hempel appeared again as the Swedish soprano before ài big audience. Jenny Lind, the books, state, “is of the middle height, fài¿ haired, blue eyed, neither stout, nor slender, But well proportioned, n^iffier 9 fat ■' nor thin, but enough ,Of the one for comeliness and enough of ;the othér for romance, jnéek looking when her features are at rest, fill 1 of animation and energy whefl they are at play,” all of. which physical properties Mine. Hempel in one Way or another was successful Is recreating.
Not only .did, the soprano wear a Copy Of Mile. Lind’s gown, but the men of her company, Conraad V. Bos, pianist, aqd Messrs. Fritze and Fa-brizio, flutists; donned tile dress garb of the’ period to lend ¿orroborative Celait.
To compare .the singing of the two sopranos is. ■naturally, beyond us, but iMme. Hempel tvas' quite delightful. She still has at her command those niceties of the vocal art, her sure feeling for thé rhythm, lier legato, her phrasing, finished style and artistry, that are so ■seldom met with nowadays on the׳ concert or operatic
singe'
THE WORLD :
Frieda Hempel, with<a replica of the 4*Jenny Lind" recital given a year or two ago by her at Carnegie Hall, filled tîie Hippodrome-last night. Everything had been done to reproduce in detail the atmosphere of the Swedish Nightingale’s appearance in America in 1850. Miss Hempel was lovely in a white crinoline, with a characteristic garland of rosebuds as its sole decoration, while Mr. Bos, the sympathetic accompanist, sported the stock: And plum colored dress clothes of ' the ante-bellum • period Miss Hernpel» in the best of voice, sang, among other numbers, “Casta Diva," ■from “Norma." which was Jenny Lind’s first solo in this country, together with the inevitable **Last Rose of Summer" as־־ an encore, and later, of course, “Home, Sweet Home ” It was an occasion of rare beauty and notable art in perfect combination
THE GLOBE
At the Hippodrome, last evening, Frieda Hempel gave one of her “JennySLind Concerts.” Looking v ery charming in a costume of 1850, M Hempel sang Nonna's "Casta diva” scene (in an abbreviated version), the Norwegian “Echo Song ’* and other pieces associated with Jenny Lind.
By W. J. HENDERSON.
Mme. Frieda Hempel, TiaVing returned from a considerable tour of the country, gave her “Jenny Lind Concert” at the Hippodrome last evening. In this entertainment Mme. Hempel sings numbers associated with the fame of the Swedish nightingale and wears a costume such as she wore when she appeared in Castle Garden in 1850. Conrad Bos, who plays., piano solos and acts as accompanist to the prlma tlontta, ehgaged the eye in a plum colored swallow tailed coat and pale gray trousers with straps.
The soprano's operatic airs were “Casta Diva” and the air with two flutes from Meyerbeer’s “L’Etoile du Nord.” She sang also songs by Schubert, Schumann and Mendelssohn and “Kom Kyra,” the Norwegian herdsman’s song made known to local music lovers by Mme. Sembrich. This number she delivered to her own accompaniment and with flawless beauty of tone and perfection of technic and style.
Mme. HempeTs “Jenny Lind Concert” admits of some latitude in the employment of facial expression and pose and the prima donna makes much of her opportunities. It is always a delight to hear her sjngr. Her voice last evening was fresh and captivating and her interpretations had both musical significance and personal charm. The Hippodrome was full of people and enthusiasm.
THE EVENING MAIL
HEMJMEL AS JENNY LIND
COCTUMES and melodies of day* when the world was younger, and when Castle Garden was up-iowti, Wrought their particular magic in the H'ppodrome last night For Frieda Hempel wore the white satin and crinoline, the roses and chastely-bound coiffure of Jenny Lind. Hardly a man Is now alive who remembers the voice of the young woman who was known as the Swedish nightingale.
But the gleaming Miss Hempel has her on. individual, voice with which to weave spells. She wisely mingled the tricks of coloratura with the direct lyric music that she sings with such lovely simplicity of style. The Casta Diva from, “Norma” was exquisitely sung, but there was effort in Mayor-beer’s aria with two flutes to be imitated Coloratura must riplle, and froth as if it were a spontaneous expression <jC joj־, and Miss Hempel did hot always achieve this.
She did make “Dixie” and “Swanee River” so appealing that the most jaded concert-goers must have had
fresh thrills from tunes that can easily be just sentimental and obvious.
And her voice had limpid clarity in the beautiful Mendelssohn “On Wings of Song ” Conrad V. Bos served as accompanist and virtuoso, playing Chopin in a suitably poetic mood. Louis P. Fritze and John Fabrizio were the eloquent fiutisi«.
EVENING TELEGRAM
Jnd period. Frieda , Hempei w״b ~ ,Jenny Lind” program last "iSht at he Hippodrome• It ™s a deh1*־׳*
ertainment. "Casta Diva.	״
״a." the familiar Norwegian I״**״*״*; ■The Last Bose of Summe!, sung a-in encore, an aria from Meyerbee, « ■Etoil du Nord.” e\on Benedicts old •Greeting to America" from „'1^erl kind's first American programme, we reard and enjoyed
FRIEDA HEMPEL AGAIN SINGS AS JENNY LIND
In Golden Ringlets and Billowy Hoops She Is Applauded by 5,000 at the Hippodrome.
How great an interest may be kindled by the memofy of an artist was shown when 0,000 persons greeted Frieda Hempel at the Hippodrome last night in a revival of her famous “ Program of Jenny Lind,” which Mme. Hempel first essayed at the Lind centennial and has been called to do again the country over. Amid a vast crowd the present singer appeared in golden ringlets, ròse garlands and billowy white-floUnced hoops, a picture against gold־and־red velvet curtains. The voice was the voice of Hempel, with its charm of brightness and agility, but the song3 were songs that Jenny Lind sang, as few like Hempel sing them today. There were even incidents of quaint-flute music by Louis Fritze and John Fabrizio, piano interludes from Chopin by C. V. Bos, with the men in plum-colored tailcoats, velvet collars and all.
Mme. Hempel followed Jenny Lind’s first song in America,, the ** Casta Diva ’* from Norma, with “ La$t Rose of Summer ” on recall. She finished a second group with Jenny Lind’s Nor-wegion ** Echo ” song, gave ^ith two flutes the air from “ Etoile du Nord ’’ and capped all with a group “ composed éxpressly for Mile. Lind,” including the Taubert “ Bird Song ” and a " Greeting to America,” by Bayard Taylor and Julius Benedict, that had won P. T. Barnum’s prize. The program ended with verses by an American, John Howard Payne, to music from a one-time London opera success. Bishop’s “ Clari, or the Maid of Milan.” It was a song that .will celebrate on its own account next month the hundredth year of •“ Home, Sweet Home.”
NEW YORK AMERICAN
I—Ety persons of to-day remem•
1 ber the'voice of Jenny Lind, but many of tiiose who filled the Hippodrome last night will never forget Fhfeda Hempel’s singing of a Jenny Lind programme It was an event of prime importance, even in a season overcrowded with music. Miss Hempel appeared in an exact copy of the whit ecrinolined silk gown worn by the Swedish Nightingale at Castle Garden in 1850. The pianists and flutists who accompanied her were clothed in •the colored costumes of the same period.^
The programme began with the flbrid “Casta Diva” from Bellini’s “Norma,” the first selection sung in this country by Jenny Lind. Miss Hempel’s interpretation Was not •only fluent and brilliant but many of her high notes were of remarkable beauty and rare quality.
In gentle German songs by
Schubert and Schumann her singing matched her intelligent dramatic versions. Each number was a story admirably told. Of singular charm was the Norwegian Herdsfan’s Song, in which Miss Hempel piayed her own accompaniment, managed the effective echo call surprisingly well and, after a long passage 'without piano support, ended absolutely true to pitch.