critic, Hermann Klein, said of him that had his art been as good as his voice "he would have
escaped declining favor and a regrettable fate in after-years." He became a hotel porter in
Gottardo Aldighieri ( 1824- 1906)created the role of
Barnaba in La Gioconda in 1876. The
words of Luigi Arditi's "Il bacio" are dedicated to him.
Oreste Bimboni ( 1846-1905) was one of the ranking Italian conductors of the time. He was
one of Colonel Mapleson's conductors in London and on his American tours.
Siegmund Bachrich ( 1841-1913) was first violist of the orchestra of the Court Opera and of
the Philharmonic. He was also violist, first of the Hellmesberger, and later of the Rose
Richard Kralik ( 1852-1934), philosopher, historian and poet, dreamed of reviving medieval
mystery plays. He did, in 1893, produce a Weihnachtsfestspiel ( Christmas festival).
Hugo Wittmann ( 1839-1923), a German journalist and musician, had come to Vienna via Paris in 1872. In Paris he had been correspondent for the Neue Freie Presse, whose editor he
became after settling in Vienna. He was the author of many comedies, operetta libretti and
12. Mierzwinski — and Others
— Sing Il Trovatore
Ladies in the Moonlight
Friedheim Plays Liszt
April 6, 1884
Il Trovatore will be repeated, primarily in order that we may hear again, as at
the last performance, a succession of those high notes with which Signor Mierzwinski favors the stagione audiences so generously. "Bon appetit," one
feels like calling to the parterre, to whom every B and C from Mierzwinski's
throat seems at least as savory as a fresh, succulent oyster.
Just watch them in that sublime moment when the tenor gazes down
ecstatically from the beatific heights of his C or C sharp. They click their
tongues in delight, pat their bellies contentedly. They become real frog's legs
under the influence of Herr Mierzwinski's galvanic column of Memnon.
ambitious among them attempt to imitate him, singing in the same register;
the more modest opt for the safer terrain of the octave below; the true
enthusiast, however, sings along pantomimically (a sign of great emotion),
separating the upper and lower jaws according to the height and duration of
the attacked tones — a silly business, but one that may well afford more
pleasure than Verdi's Il Trovatore — or even Mierzwinski's.