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224
MAHLER GUSTAV (1860-1911)
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MAHLER GUSTAV (1860-1911)
L.A.S. "Gustav Mahler",[Prague July 1886, to Max STAEGEMANN, Director of the Leipzig Opera]| 4 pages in-8| in German.
Interesting letter from the young conductor at the end of his season at the Prague Opera, before joining the Leipzig Opera, about a singer and the repertoire.
Because of Miss HUDL's indisposition, he was only able to audition her today, hence his delay in telling her about it. The voice is definitely beautiful, with warm intonations, not bad in medium and low registers ("Die Stimme ist entschieden schön, hat einen warmen Klang - nicht übel Mittellage und Tiefe")| to tell the truth, it is not certain that the lady is not a mezzo-soprano. However, she is an absolute novice! ("Sie ist jedoch totale Anfängerin !") Although she had a commitment to Olmutz for one season, she sang there, he doesn't know why, only three roles, namely "Agathe, Gretchen und Leonore- Troubadour !" [Finding Him] He doesn't think she's suitable for Elsa or Elizabeth.
Mahler leafed through La Gioconda[by PONCHIELLI], and didn't like it at all. Dejanice[d'Alfredo CATALANI], about whom he spoke to her, is much better. He does not know if Aida is suitable for the taste of the Leipzig public| if so, Dejanice should also please ("Ich weiß nicht, ob das Leipziger
Publikum die Aida goutiert| in diesem falle dürfte Dejanice gefallen").
By the way, he has been to Prague several times at the Bohemian National Theatre ("im böhmischen Nationaltheater"), and has heard things from SMETANA, Glinka, Dvorak, etc.: the first, especially, seems remarkable to him. If his operas are included in the repertoire in Germany, it might be worthwhile to present to an audience as sophisticated as the one in Leipzig ("einem gebildeten Publikum, wie das Leipziger ist"), music as truly original and primitive ("einen so durchaus originellen und ursprünglichen Musiken vorzuführen").
Introducing another SPONTINI would also be very interesting! In any case, it is necessary to tak
L.A.S. "Gustav Mahler",[Prague July 1886, to Max STAEGEMANN, Director of the Leipzig Opera]| 4 pages in-8| in German.
Interesting letter from the young conductor at the end of his season at the Prague Opera, before joining the Leipzig Opera, about a singer and the repertoire.
Because of Miss HUDL's indisposition, he was only able to audition her today, hence his delay in telling her about it. The voice is definitely beautiful, with warm intonations, not bad in medium and low registers ("Die Stimme ist entschieden schön, hat einen warmen Klang - nicht übel Mittellage und Tiefe")| to tell the truth, it is not certain that the lady is not a mezzo-soprano. However, she is an absolute novice! ("Sie ist jedoch totale Anfängerin !") Although she had a commitment to Olmutz for one season, she sang there, he doesn't know why, only three roles, namely "Agathe, Gretchen und Leonore- Troubadour !" [Finding Him] He doesn't think she's suitable for Elsa or Elizabeth.
Mahler leafed through La Gioconda[by PONCHIELLI], and didn't like it at all. Dejanice[d'Alfredo CATALANI], about whom he spoke to her, is much better. He does not know if Aida is suitable for the taste of the Leipzig public| if so, Dejanice should also please ("Ich weiß nicht, ob das Leipziger
Publikum die Aida goutiert| in diesem falle dürfte Dejanice gefallen").
By the way, he has been to Prague several times at the Bohemian National Theatre ("im böhmischen Nationaltheater"), and has heard things from SMETANA, Glinka, Dvorak, etc.: the first, especially, seems remarkable to him. If his operas are included in the repertoire in Germany, it might be worthwhile to present to an audience as sophisticated as the one in Leipzig ("einem gebildeten Publikum, wie das Leipziger ist"), music as truly original and primitive ("einen so durchaus originellen und ursprünglichen Musiken vorzuführen").
Introducing another SPONTINI would also be very interesting! In any case, it is necessary to tak