Maconda Concert Company

              Season of 1903–04 MACONDA Concert Co.

Figure



DIRECTION
 THE REDPATH LYCEUM BUREAU BOSTON CHICAGO




THE SPARRELL PRINT · BOSTON





The
 
MACONDA
 CONCERT CO.





MME. CHARLOTTE MACONDA


Prima Donna




MR. MAX BENDIX


Violin Virtuoso




DR. CARL E. DUFFT


Baritone




MR. CHAS. K. NORTH


Flute




MISS MAUD PARADIS


Piano






W
E take great pleasure in announcing this combination of distinguished soloists.  
M
me. 
M
aconda
 is justly considered our leading concert soprano.  Her triumphs are too numerous to need mention.  Although a colorature singer of the highest rank, her voice has a rich quality and a warm sympathy in the tones of the middle register, which enable her to sing oratorio and songs with the same distinction and authority that mark her work in the florid music of an operatic aria.  The compass of her voice is remarkable, and she is noted for her artistic phrasing and her intelligent interpretation.




M
ax Bendix,
 the famous virtuoso, is one who the most conservative 
critiques
 have pronounced a born leader, possessed of a sense of rhythm that is irresistible, an intense temperament, and a purity, strength, and beauty of tone that are exquisite.  Besides all this he is a true artist and musician, and seeks only that which is highest and best in the art.




Halir speaks of Bendix's marvelous left hand, which he says is a giant's, with tendons of steel, and Ysaye emphasized his appreciation of Mr. Bendix's skill, after choosing him to assist the concert tour with Lachaume, Gerardy, and Marteau, by the presentation of a bow of priceless value, once the property of Vieuxtemps.




Dr. Dufft
 is as well known as any American musician.  No oratorio or singing society of prominence, but that has called him, not once but many times, to their assistance.  His is a noble voice, sonorous and flexible, which he uses with dignity and intelligence.  Few singers are to be found with such excellencies of voice, style, and method.




M
r. North
 is a sterling artist, who accompanied Mme. Melba in her concert tour of 1895, and later was with Mme. Calvé.




M
iss Paradis
 is an accompanist of rare excellence as well as a brilliant soloist.



Figure

Mme. CHARLOTTE MACONDA



COMMENTS OF THE PRESS



NEW YORK—Orchestral Concert




Charlotte Maconda made the success of the evening with a superlatively brilliant execution of the Bell Song from Delibes' 
Lakmé.
  Her voice has the 
ton argentin
 which is just suited to this little piece of vocal pyrotechnics.  It is a difficult one to sing—the intervals are odd, and most of the notes have to be sung staccato.  A better bit of floriture singing has not been heard this season.—


World.




Maconda surprised her most ardent admirers, and judging by the reception accorded her they are not a few.  The applause that signaled her appearance was general, hearty, and prolonged.  She sang a selection from 
Perle du Brazil,
 which gave ample scope for the display of her extraordinary vocal talent.  She is what is technically called an operatic soprano.  Her voice harmonized exquisitely with the flute obligato, and when the piece was concluded a furore of applause denoted the sincerity of the auditors in their acknowledgment of the singer's triumph.—


Brooklyn Citizen.




BOSTON—With Handel and Haydn Society




Mme. Maconda has a voice of fine quality.  She is an excellent and intelligent singer, and in 
Rejoice Greatly
 sang with splendid brilliancy and emphasis; and in the coloratura passages with a smooth and fluid distinctness that can scarcely be praised too warmly.—


Ben. Woolf, in 
Herald.




BALTIMORE—
The Messiah




Mme. Maconda has a rich, resonant voice, and, to her honor be it said, she achieved exquisitely the devotional utterances in 
I Know that My Redeemer Liveth.
  Her voice has a delicious lifting quality which easily filled the hall.—


The American.




CINCINNATI




Charlotte Maconda sang the Bell Song from 
Lakmé
 such as only an artist of her fine proportions can do.  She has a coloratura soprano voice that seems to be adapted to all the requirements and demands that can be made of it.  Her command of embellishment has apparently no limit.  Her tones are musical and soft as velvet—and yet they are endowed with remarkable carrying power.  Another remarkable quality of her voice is its purity of intonation.  She was effective till the close, when she reached high D (above the staff) with the greatest of ease.—


Commercial Tribune.




Mme. Maconda sang again, and each appearance of this artist confirms the impression of her skill and voice.  All the art of a great coloratura singer was brought into evidence, while the audience held its breath to listen to the staccatos, trills and flawless chromatic scales, which, at their conclusion, earned a veritable triumph for the singer.—


Enquirer.




PITTSBURG—With Symphony Orchestra




Her work was exceptionally fine, and she won deserved applause.  Mme. Maconda has a flexible voice of excellent quality, and her execution of the florid passages was artistic in every respect.—


The Press.



BROOKLYN—
Oratorio Club Concert




Carl Dufft, as Lucifer, sung with exquisite imagination and fervor, and will probably know no greater triumph than he experienced in his 
Drinking Song.
  Gladly would the audience have listened to a repetition in its entirety, so overwhelmingly intoxicating were its strains, and so startling was the responsiveness of the choral forces.—


Brooklyn Citizen.




CINCINNATI




Perhaps never before in the history of the 
Pops
 was there such a memorable occasion and remarkable programme as the one presented at yesterday's concert in Music Hall.  It was a 
Messiah
 programme with a quartette of soloists worthy of the oratorio.  While all made an excellent impression, particular success crowned the efforts of Dr. Carl Dufft, who sang 
Why do the Nations,
 in dramatic, spirited style, with a magnificent voice.  As an encore, the number, 
The People that Walketh in Darkness.
  The enthusiasm of the audience knew no bounds after the singing of the quartette, 
Sancta Mater,
 from 
Stabat Mater.
—


Cincinnati Enquirer.




Dr. Carl Dufft, basso, proved himself altogether the strongest artist of the strictly legitimate oratorio school.  Seldom, indeed, is the air, 
Why do the Nations,
 better given than his rendering of it—dramatic, stirring, soul-inspiring.  His phrasing was excellent and his accents were well placed.  As an encore he gave, 
The People that Walketh in Darkness.
  But the triumph of the concert came in the quartette, 
Sancta Mater,
 from the 
Stabat Mater,
 sung with striking ensemble and artistic result.'—


Cincinnati Commercial Tribune.




MILWAUKEE—
Messiah




There are bassos and bassos, but it is not often that one is given the pleasure of hearing a voice like Dr. Dufft's.  There are certainly few singers with such excellencies of voice, style, and method.  He seems to be imbued with a sense of the dignity of his art.  Head, heart, and voice combined to reveal his conception of the aria, 
Why do the Nations,
 and the applause that followed was the honest expression of the appreciation felt for the singer.—


Evening Wisconsin, Milwaukee.




CLEVELAND—
Singers' Club Concert




The chief attraction was Dr. Carl Dufft, the celebrated baritone.  The admirable features of the vocalist are an organ of great flexibility, at once strong and mellow, a clear articulation, and a thoroughly artistic polish.  Dr. Dufft possesses the gift of blending the transitions from indifference to highly pathetic expression in a superior manner.  There is no abruptness—everything comes natural as the result of development.—


Cleveland Leader.




MONTREAL—
Creation




Dr. Dufft, with his rich bass voice and powerful declamation, carried off the honors of the evening.  His noble conception and excellent delivery were most dignified.  He received tremendous applause, and fully deserved it.—


Musical Courier.

Figure

DR. CARL DUFFT


Figure

MAX BENDIX




MINNEAPOLIS.




Mr. Bendix played the 
Concerto in D minor,
 by Vieuxtemps, with the skill of a master.  At times the music was imperious, at times it was pleading.  The difficult andante movements were handled in a marvelous manner.  Mr. Bendix has few rivals in the matter of bowing.  His technic is even better than his interpretation, if that were possible.  Zarzycki's 
Mazurka
 was the choice of the audience.—


Minneapolis (Minn.) Tribune.




NEW YORK.




The most striking feature of the concert of last night was the violin playing of Mr. Max Bendix.  He showed a masterly dignity and power that were heartily recognized.—


New York Times.




Mr. Max Bendix is a violinist who charms his audience at once with the sweetness and purity as well as dash and brilliancy of his style.—


New York Music and Drama.




Mr. Bendix surprised even his warmest admirers by the freedom, surety, and brilliancy with which he played Paganini's difficult variations.  To an overwhelming encore he responded with a transcription of Popper's 
Elfentanz.
—


New York Musical Courier.




BROOKLYN.




The next number was a violin solo by Max Bendix.  So completely was the house carried away by the performance that there was a perfect storm of applause, and the artist was compelled to appear and repeat again and again.—


Brooklyn (N. Y.) Standard-Union.




PHILADELPHIA.




Mr. Max Bendix was the soloist of the evening.  He played the Brahms' 
Concerto
 with wonderful clearness, delightful firmness of execution, and grand beauty and tone.—


Philadelphia Inquirer.




Max Bendix played with the fluent grace and richness of tone that have given him so high a rank among American violinists.—


Philadelphia Press.




NASHVILLE.




The program was opened by Max Bendix, with the rendition of Saint-Saëns' 
Rondo Capriccioso.
  His playing was superb.  He caught his audience and held them spellbound.  An artistic effect such as he produced is beyond description.  It can be felt, and there alone is the appreciation that its merits accorded.  When he concluded the audience responded with long and loud applause.—


Nashville (Tenn.) American.



THE MELBA TOUR.




The flute obligato by Mr. North was charmingly rendered and stamped him a most capable artist on his favorite instrument; and at the close of the number, when the audience burst forth in tremendous applause, it is safe to say that a share of it was for Mr. North for his splendid work.  In the grand finale Mr. North's ability as an artistic performer was shown, his notes intertwining and blending so closely and harmoniously with those of the singer that it was fairly impossible at times to distinguish them.—


Pittsburg (Pa.) Press.




This is observed particularly in the flute cadenza, the instrumental part of which was played last evening by Mr. North.  The silvery mellow notes of that instrument, usually so difficult to counterfeit, were followed with such perfection of phrasing, and tone, and liquid brilliancy.—


Chicago Times Herald.




She sang the number in a manner that displayed the capabilities of her wonderful voice to perfection, and its beauties were enhanced by the admirable flute playing of Mr. Charles North.—


Daily Press, Portland, Me.




The Mad Scene from 
Lucia
 in which Mr. North was heard in a delicious flute obligato.—


Toronto Globe.




The flute obligato by Mr. North was very fine; the sympathy between the voice and instrument was perfect.—


Montreal Star.




The flute obligato by Mr. North commends the player for its perfection.—


Buffalo (New York) Courier.




A word is due to Mr. North's flute obligato which was given with sympathy and intelligence.—


Chicago Tribune.


Figure

C. K. NORTH




My Dear Mr. Hathaway
:—




* * * The most pleasant feature of the entire trip has been the really excellent accompaniments of Miss Paradis, and if she had not been clever enough to transpose readily, the programme would have been spoiled more than once, on account of the high pitched pianos we had to put up with.




Very truly yours,

EMMA JUCH
.


(Marie Decca's Concert).—The accompaniments were played by Miss Paradis with unusual taste.—


Mr. Philip Hale, in the Boston Journal.




Miss Paradis' renditions, which were given with excellent technique and phrasing, were Wollenhaupt's 
Scherzo Brilliant
 and Gottschalk-Joseffy's 
Pasquinade,
 both of which were encored.—


Philadelphia Evening Telegraph.




Miss Paradis presides at the piano in a graceful manner and her selections were most skilfully rendered.—


Nashville (Tenn.) American.




Miss Maud Paradis, the pianist, proved herself a splendid soloist and a sympathetic accompanist.—


Washington (D. C.) Post.


Figure

MISS MAUD PARADIS