Suzanne Adams

              SUZANNE ADAMS
SUZANNE  ADAMS,  SOPRANO
SUZANNE ADAMS, Prima Donna Soprano LEO STERN,                                Violoncellist
GEORGE CRAMPTON,      Basso Cantante
PIANIST TO BE ANNOUNCED
The story of MADAME SUZANNE ADAMS' career reads like a fairy tale. All the gifts and graces nature can bestow seem to have been showered upon her. A lovely voice, a beautiful face and figure, youth and engaging manners have all combined to make her what she is, the idol of the music-loving people of two continents. Per¬haps never in the history of music, with the single exception of Patti, has so young a singer achieved such enviable distinction, for this prima donna, who ranks with the greatest singers of the world, is but twenty-six years of age, with the best achievements of her life before her. Madame Adams' voice is a soprano of wonderful flute-like quality, with an execution absolutely faultless, the most difficult runs and trills being overcome with a phenomenal facility which adds tenfold to their effectiveness and charm. Every honor possible in the domain of music has been accorded Madame Adams. Her late Majesty, Queen Victoria, on three occasions called her to Windsor to sing for her privately, expressing herself repeatedly as being enchanted with the beautiful voice and modest bearing of the young American, and signifying her approval by many valuable gifts, a collection which Madame Adams greatly values. Madame Adams has also sung at every State Concert in London since 1898, a record not held by any living singer. Her success in concert is quite equal to her operatic triumphs, as the records of the Worcester, Maine, and other great festivals will prove, and the Central Bureau is proud of its achievement in tempting this singer to abandon for a time the glories of an operatic career to give the Lyceum public the opportunity of see¬ing and hearing a really great artist, who is still in the first flush of her youth and fame.
EXCLUSIVE     DIRECTION
White's Entertainment Bureau
K.   M.   WHITE,    Manager
925 = 926   Colonial   Building                             Boston,  Mass.
SUZANNE  ADAMS 0 SOPRANO
^_______________________________________________________________________________
As Marguerite in Faust
Chicago Tribune.
Suzanne Adams is the best "Marguerite" that has appeared here for years.
Munsey's Magazine.
Miss Adams is the American who proved the sensation of the Grau opera season last summer. A French critic said of her that she possessed two notable characteristics, youth and a clear beautiful voice, in certain tones strikingly like Melba's.
Westminster Gazette.
Nothing purer, sweeter, in the matter of vocalization, could well be wished than that with which she delighted her hearers yesterday.
Boston Globe.
She sang the florid waltz song of the first act with excellent taste, accuracy of tone, and freedom of execution that readily commanded an enthusiastic outburst of applause, which did not cease until a repetition was granted.
Whitehall Review.
Miss Suzanne Adams's "Marguerite" was the chief feature of Faust, which formed the attraction at the Royal Opera on Wednesday night. Gounod's beautiful heroine was certainly never seen to better advantage in the lighter and more girlish portions of the opera. The delivery of the famous jewel song was quite perfect.   Her young fresh voice is pure and rich in quality.
i  PIANO SOLO        Ballade.........Chopin
2     SONG                   The Toreador (Carmen)  .   .   . Bizet
MR. CRAMPTON.
3  'CELLO SOLO    a Andante from Concerto  Goltermann
b Elfin Dance.......Popper
MR. STERN.
4  SONG                      The Jewel Song "Faust"   .   Gounod
MADAME ADAMS.
5   DUOS for VOICE    a The Rosary.....Nevin
AND CELLO    b Obstination   .   .   .     fiontenailles
MADAME ADAMS AND MR. STERN.
6  PIANO SOLO        Rhapsodie.........Liszt
7  SONGS                 a    Love's Nocturne   ....    Kellie
                                 b    The Roamer   . . .    Mendelssohn
MR. CRAMPTON.
8  'CELLO SOLO    a Melodie Romantique ....  Stern
b  Russian Dance    .   .   .  Scharwenka
MR. STERN.;
9   SONGS                a Should He Upbraid    .   .   .  Bishop
b A Little Thief......Stern
c The Danza.....Chadwick
MADAME ADAMS.
NUMBER TWO
i   PIANO SOLO        Polonaise........Chopin
2   SONG    a    The Templar's Soliloquy (Ivanhoe) Sullivan
MR. CRAMPTON.
3  'CELLO SOLO    a Serenade.......Schubert
b At the Fountain    ....  Davidoff
MR. STERN.
4   SONG                      Polonaise from "Mignon" A.Thomas
MADAME ADAMS.
5  DUO for VOICE    a Arioso........     Delibe
AND 'CELLO    b Obstination   ....    Fontenailles
MADAME ADAMS AND MR. STERN.
6  PIANO SOLO        Rhapsodie Hongroise ....  Liszt
7 SONGS                a    Molly Bawn.....Old Irish
                b    Land of Hope and Glory    .   Elgar
MR. CRAMPTON.
8  'CELLO SOLO    a Pastorale.........Stern
b Tarantella
MR. STERN.
9  SONGS                a Parting.........Rogers
b   Spring Waltz......   . Stern
MADAME ADAMS.
NUMBER ONE                    SPECIMEN PROGRAMS
ro SELECTED
MADAME ADAMS, MR. STERN, MR. CRAMPTON.
ID SELECTED
MADAME ADAMS, MR. STERN, MR. CRAMPTON.
SUZANNE   ADAMS SOPRANO
Illustrated London News.
Miss Adams made a brilliant debut. She has a very charming voice, tender, pure, and sympathetic, and her technical accomplishment is little short of superb.
Boston Transcript.
In appearance she certainly need not fear comparison with any other prima donna who has recently played the role here.
Boston Daily Globe.
The simplicity of her attire is to be particularly commended, and very agreeable is the absolute absence of any suggestion of affectation or posing for effect. She was the pure hearted, simple-minded village maiden who had no conception of thought of wrongdoing. Ingenuousness was the keynote of her impersonation. There was lovely girlishncss in her acting throughout the spinning wheel and jewel songs, and maidenly reserve marked all her love with Faust.
As Juliet in Romeo and Juliet New York Tribune.
She has a beautiful voice and enviable artistic accom¬plishments. Such gifts and graces should be cherished and encouraged. Miss Adams is one of the latest illustrations of America's capacity for producing lovely voices.
Brooklyn Standard.
Last night she acted the role of the Verona maid like a veteran, and simply took some people off their feet. A more winsome and lovely picture than Mme. Adams' "Juliet" could not be imagined. The pure, sweet, light voice, the youthful figure, the piquant expression in the large dark eyes, and the natural grace of manner created a complete illusion.
Art Journal.
Of Mme. Susanne Adams' "Juliet" it may be said most truthfully that she is an ideal "Juliet:" a most lovely vision in her ball costume.
New York Herald.
Then she began the waltz song, and sang it with such charm and taste, with such correct intonation, such purity of tone and such artless simplicity, that when she took the high note in the final cadenza and, commencing with a pianissimo, swelled the tone till it filled the auditorium, the audience broke, and took her to its heart. When the encore was over, the fate of Suzanne Adams was settled.
As Hero in Dr.  Villiers Stanford's Opera, Much Ado About Nothing
London Standard.
Madame Suzanne Adams sings the love music charmingly, the purity of her tones is delightful. She has earnestness and keen sensibility, and there is genuine pathos in her interpretation of the Church scene, as also in the scene of reconciliation.
London Morning Leader.
Miss Suzanne Adams discovered an unexpected gift of humor as Hero. She looked, too, like one of Mr. Abbey's Shakespearean drawings.
London Times.
The Hero of Madame Suzanne Adams is exquisite in grace and maidenly charm; the music suits her voice to perfection, and she gives it with great effect.
London  (Eng.) Daily Mail.
Madame Suzanne Adams, who played Hero, won the chief triumphs of the evening. She sang charmingly, and acted with a delightful archness and sense of comedy.
Manchester (Eng.) Guardian.
Madame Suzanne Adams proved admirably fitted for the part of Hero, and invested it with a full measure of womanly sympathy and vocal as well as personal charm.
London Graphic.
Madame Suzanne Adams has a quiet self-possession, and a pure voice, that has something of the charm of a rippling stream of water: clear, cool, delicious. As she appeared first, under a canopy, as "Queen of the Roses" and danced in the stately saraband in her ivory satin gown, with soft, billowy pink chiffon and garlands of roses, she quite added zest to her modest song, "Would I Were Twenty Times More Fair."
SUZANNE ADAMS J*» SOPRANO
As Gilda in Rigoletto
Whitehall Review.
Mme. Suzanne Adams, as the abducted heroine, sang splendidly, and proved that she can claim to be one of the first artists in her own particular school.
Pall Mall Gazette.
Madame Suzanne Adams was the "Gilda" of the cast, and sang with wonderful refinement and charm. Her appearance is all in her favor, so sweetly dignified is she in her every pose.
London Daily Chronicle.
Mme. Suzanne Adams made her entree as "Gilda," and again displayed the artistic qualities that caused her to be such a favorite in former seasons. Her voice retained its sympathetic charm, whilst her rendering of "Caro Nome" (for which the audience unavailingly sought an encore) showed increased flexibility.
London Punch.
Thursday.—Re-appearance of our old friend Rigoletto. Viva Verdi! Show me a better "Gilda" than "Black-eyed Susan" Adams, and if that be possible, then do I defy you to produce better.
As Queen in Huguenots
The London Star.
Madame Suzanne Adams, as the "Queen," sang brilliantly and artistically.
The Pall Mall Gazette.
Madame Suzanne Adams took the part of the "Queen," and sang the florid music with much distinction and spirit.
The London Morning Post.
Madame Suzanne Adams sang the florid strains allotted to the "Queen" most delightfully and with crystalline purity of voice.
The London Globe.
Madame Suzanne Adams sang brilliantly as the "Queen."
Boston Daily Globe.
Miss Suzanne Adams finite equalled expectations as "Queen Marguerite." She presented a charming appearance, and she was always graceful and pleasing. The audience liked her immensely and applauded her with great heartiness, notably after the florid aria at the opening of the second act.
The Pittsburg Times.
There was Suzanne Adams, greater than last season, as "Marguerite." Her opening song in the second act had to be repeated, her roulade and final high note catching the audience with their glittering brilliancy and precision.
At the Maine Festival
Bangor Daily Commercial.
Madame Suzanne Adams' first appearance was in Meyerbeer's Shadow Song from Dinorah. Madame Adams sang beautifully, and before she had finished her opening solo her hearers were entranced by her wonderful voice, its clearness and mellowness and flutelike quality, so evident in her trills and runs, and the sweetness that predominated all the tones—all these qualities and many more are possessed by the charming prima donna who now holds a place in the Bangor hearts with Nordica, Schumann-Heink, and Sembrich.
Bangor Daily News.
In this concert was heard for the first time here a soprano singer whose voice is a delight to the ear, and who will carry away with her praise and good wishes Madame Suzanne Adams. For purity of tone and ex¬quisite finish in every note and phrase this singer has not been excelled by any who have been heard here, and in trills and runs, executed with melodious ease, she charmed all hearers.
At the Worcester Festival
The Boston Transcript.
Miss Adams was greeted with thundering applause, which was repeated even more vigorously after she had finished singing Mr. Stern's waltz song. There was such mad enthusiasm that the management relaxed their wise rule, and allowed Miss Adams to repeat the song.
Boston Herald.
Suzanne Adams's arrival was a fitting climax in the list of festival events, and her performance this evening was the gem for which glorious setting had already been shaped. "Valse Printemps" was Miss Adams's first number. The music of this was written around the prima donna's voice by her husband, Leo Stern, and the words are by Salignac. Miss Adams sang it with extraordinary brilliancy, and her execution, so bird-like, with a long trill on the high B and a sweet final E, completely captured the audience.
As Soloist with Pittsburg Orchestra
Pittsburg Post.
The soloist was Suzanne Adams, petite, pretty and exquisitely gowned, upon whom some day will fall the mantle of the great Sembrich. Brilliant enough to flash fire were the upper tones of this coloratttre artist, simply electrifying was her flaming high C sharp. Her facility of execution, her intonation and her phrasing were marvelous. What Suzanne Adams could do in the lyric field was impossible of full judgment in her performance of last night, but what she DID do in the line of graceful, waving, scintillating colorature work, an amazed audience voted in unmistakable terms was superb,  if not perfection  itself.
Pittsburg Gazette.
Suzanne Adams, the charming American songstress. was tendered a real ovation at the Pittsburg orchestra concert last night. A splended audience filled the hall and the applause was of the kind to delight an artist, being intermingled with audible murmurs and exclamations of pleasure and appreciation. The beautiful extract from "Traviata," well known and popular with music lovers the world over, introduced her, and after several recalls she gave an encore number, a dainty little song in English, which was fully as warmly received as the more ambitious attempt. In the second half of the program Miss Adams sang Stern's "Springtime" waltz with lovely effect, this music also suiting her voice especially well. This was repeated after half a dozen recalls. A second encore was necessary and a third would have been warmly welcomed by the audience. Miss Adams's charms as a vocalist were undoubtedly enhanced by the fact that she is an American girl who has succeeded by hard work and study in placing herself among the lauded operatic stars of the day.
LEO   STERN     'CELLIST
Although a young man, LEO STERN has won for himself a most exalted position among the world's musicians. His first professional tour was made with Madame Patti in England in 1888. In '96, Mr. Stern gave concerts in Edinburgh and Glasgow with Paderewski and Sauret, and later a series in Paris, being accom¬panied by Godard and Massenet. In March, 1896, he attained the greatest triumph ever achieved by any 'cellist, the first performance of the Dvorak 'cello concerto in London. This is by far the most important work ever com¬posed for this instrument. His success was in¬stantaneous and he was immediately engaged for its production at Prague, Berlin and Leip-sic. Since that time he has been regarded as among the greatest living 'cellists. In America Mr. Stern has appeared as a star with the Chicago Orchestra (Theodore Thomas), with Seidl in New York, the Arion Concerts in Brooklyn, the Apollo in Cincinnati, with Sembrich and Nordica en tour, at private concerts given by John Jacob Astor, W. K. Vanderbilt and others, and on March 11, 1898, for the late President McKinley at the White House, after the dinner given to Prince Albert of Belgium.    Mr.   Stern's  instrument,  for  which  he
paid $10,000.00, is a genuine Stradivarius, with a most interesting history. It was purchased in London, and is the envy and admiration of every 'cellist in the land. The Central Bureau congratulates itself upon being the first to present this great artist to Lyceum audiences in America.
New York Tribune.
A warm greeting was extended to Leo Stern, 'cellist, who made so highly favorable an impression at his first appearance here last spring, when he played for the first time Dvorak's beautiful concerto. He showed himself then to be an artist of high aims and a fine musical feeling, and thoroughly accomplished in the technical means of expressing them.
The New York World.
Mr. Leo Stern, the English 'cellist, made his New York debut at yesterday's fifth public rehearsal of the Philharmonic Society at Carnegie Hall. Mr. Stern introduced himself by a refined, scholarly and musicianly performance of Dvorak's B minor concerto, op. 104. He plays with ease and authority, with taste and feeling. As an encore he played Godard's Air de Jocelyn, an exquisite melody, with exquisite delicacy. New York Mail and Express.
Mr. Leo Stern, the young English violoncellist, was the soloist at the fifth public rehearsal of the Philharmonic Society. Mr. Stern is a 'cellist of much ability and of good technical equipment. His tone is broad and throbs with feeling and sympathy, while he has enough fire and dash to attack the different measures Dvorak has set down. Mr. Stern presented the new work in so conscientious and admirable a fashion that it was heard to full advantage. (More could not easily be said.) New York Evening Post.
Mr. Stern once more proved that he has perhaps no superior and few equals as a 'cello virtuoso. A dainty Humoresque of his own and Popper's Elfentanz were played in an amazingly brilliant manner. But the best qualities of Mr. Stern were shown in his own Melodie Romantique and an arrangement of the available parts of one of Chopin's loveliest etudes, which he played as an encore. Here his tone had a sensuous beauty, his bow a breadth of expression almost surpassing Ysaye's on the violin. "Signale" fur die Musikalishe Welt.
The soloist of the evening, Mr. Leo Stern, from London, was for the Gewandhaus, as well as for Leipsic, a novelty: he proved himself to be a 'cellist of noble tone, finely developed technique and thought¬ful reading, and well worthy of the enthusiastic ap¬plause which followed his performance of Dvorak's concerto in B minor, op. 104. Chicago Inter Ocean.
Leo Stern, violoncellist, was the soloist at the concert of the Chicago Orchestra at the Auditorium yesterday afternoon. Mr. Stern produced from his instrument tones of the most satisfactory character. His technique is all that can be desired, and the expression with which he illuminated his playing gave to the concerto a setting which made it wholly enjoyable. Chicago Journal.
Stern's success yesterday afternoon was fairly wrung from the audience. Then came those beautiful strains from the violoncello, like nothing so much as a mountain brook in a pleasant wooded gorge in summer, every note as perfect and clear as a drop of water falling in the sunlight, the melody swelling and fading, appearing and disappearing, now strong and clear, and now intricate and varied, but always deep, liquid and soothing. The audience stopped fidgeting and sat spell-bound. Some leaned forward to catch every vibration of sound.    All were motionless and intent.
GEORGE  CRAMPTON  BASSO
England has done many kindly things in recent years to win the favor of her American cousins, but never has a more acceptable "olive branch" been held out to us than when she sent the singer whose name appears at the head of this page, across the Atlantic, to charm us with the magic of his beautiful voice. It seems almost incredible that so young a man, however gifted, could have accomplished so much. He has been solo basso at the Church of the Annunciation and of the famous choir of St. Margaret's in London, has sung as soloist with all the principal musical societies in England and Wales, in standard oratorios as well as in modern works, and has appeared with success in English, Italian and Wagnerian Opera. Mr. Crampton's voice is a beautiful basso cantante, but the quality of his voice affords by no means his only claim for recognition as a great artist. The dramatic power and intensity with which he invests his songs, bring a new sensation, and rouse his audiences to the highest pitch of enthusiasm. His distinct enunciation is a constant pleasure to his auditors, and is a qualification as rare as it is meritorious. No more fitting associate for the great artist whose name is at the head of this truly "Grand Concert Company," and for Mr. Stern, her leading support, could have been found than George Crampton, the young baritone, for whom the management predicts immediate and unqualified success.
Leeds Mercury.
Mr. Crampton made his first appearance on this occasion and quickly established himself a favorite. His voice is an extremely beautiful basso cantante, and although quite a young artist possesses virility of style and great power. He is one of the most expressive singers we have ever heard.
London Evening Sun.
Mr. George Crampton, whose singing is always marked by the highest intelligence, gave a very fine interpretation of the bass solos in the "Requiem" (Brahms). His singing, especially in the aria with chorus, "Lord, Make Me to Know," was full of the intense religious fervor so necessary to the work.
Pall Mall Gazette.
He brought to his work great beauty of voice, an intense earnestness and true, artistic rendition (Purcell's "King Arthur").
Newcastle Chronicle.
The most successful soloist of the evening was Mr. Crampton, who made his first appearance here. He possesses every requisite of the great singer, a voice of remarkable beauty, excellent style and enunciation, and a dramatic power and intensity which is fully equal to that of any vocalist who has appeared here for years. He gained immediate favor from the most apathetic audience of the season, and we shall look forward to his next appearance with great interest.
Western Morning News.
Mr. George Crampton has often sung in Plymouth, both in grand opera and concerts. His appearance last night in "St. Paul," however, marked his greatest achievement. His voice, which is undoubtedly one of the finest in the country, was in fine condition. His beautiful work in "O God, Have Mercy!" and his dramatic intensity in "Consume Them All," will be long remembered.
The Era.
Mr. Crampton, always earnest and artistic, gave an excellent interpretation of the exquisite lines and songs of "Karolin" (Ben Jonson's "Sad Shepherd"). His artistic work furnished one of the most delightful features of the play.
London Musical News.
Mr. Crampton sang a Handel aria and a group of songs by Schubert, Brahms and Franz with great success. He has a glorious voice, both strong and sympathetic, and sang with deep expression and artistic taste.
London Daily Chronicle.
Mr. George Crampton gave a fine performance of the exacting part of "Elijah." His voice is an excellent basso cantante. He possesses great dramatic power, fine enunciation and sings with true musical intelligence.
London Musical Standard.
He gave a fine interpretation of The Toreador Song (Carmen). His noble voice completely filled the large auditorium, and his clear enunciation gave still greater
effect to his excellent style.
LEO  STERN