Page:A Dictionary of Music and Musicians vol 4.djvu/571
BOSTON MUSICAL SOCIETIES.
musical career. She made a successful début in 1846 at Urbino in 'Il Giuramento' of Mercadante, and was engaged there. She sang next at Malta, where in '49 she married Signer Mamo, a native of that place; she sang also at Naples, Florence, Leghorn, etc.
Madame Borghi-Mamo appeared in Italian Opera from 1854 to '56, at Vienna in the spring, and in the winter at Paris, and was highly successful. In Paris, on Dec. 23, '54, she played Azucena, on the production there of 'Il Trovatore,' Leodato on revival of Pacini's 'Gli Arabi nelle Gallie,' Jan. 24, '55, Edoardo ('Matilde di Shabran '), Arsace, Rosina, La Cenerentola, etc. From '56 to '59 she sang with the same success at the Grand Opera, among other parts Azucena on production of 'Trovatore' in Frenchman. 12, '57, Melusine (Halévy's 'Magicienne'), March 17, '58, Olympia (Félicien David's 'Herculanum'), March 4, '59, in the production of those operas; and as Fidès, Leonora, and Catarina on the respective revivals of 'Le Prophète,' 'La Favourite,' and 'La Reine de Chypre.' (Lajarte, Bibliothèque de l'Opera.) She went back to the 'Italiens' and played the title part in the production of Braga's 'Margherita la Mendicante,' Dec. 20, '59, Desdemona, etc.
On April 12, '60, Madame Borghi-Mamo first appeared in England at Her Majesty's as Leonora ('La Favorita'), and sang during the season as Desdemona, Rosina, Azucena, Maffio Orsini, Zerlina ('Don Giovanni'), and Urbano ('Les Huguenots'), and was generally well received both by press and public. 'She is not only one of the most accomplished singers, but also one of the finest actresses of the lyric stage.' (Musical World, May 5, '60.) She also sang with great success at the Philharmonic, New Philharmonic, at the Norwich Festival, and in opera in the provinces. She never reappeared in England, but returned to Italy and sang at Milan, afterwards at Paris, Lisbon, etc. She is now living in retirement at Florence.A daughter Erminia, a soprano, has sung with success in Italian opera in Italy, Paris, Madrid, and Lisbon, and in '75 played Margaret and Helen of Troy in the reproduction of Boito's 'Mefistofele' at Bologna.
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BORTNIANSKY. Correct date of death to Oct. 28, 1828 (Paloschi). Add that his complete compositions have been published in 10 vols., edited by Tschaikowsky (Bernard, St. Petersburg).
BOSTON MUSICAL SOCIETIES. The following societies, which give, or have given, concerts regularly for the edification of the public in Boston (U.S.A.), are described in the order of their age.
Handel and Haydn Society. [See vol. i. p. 659.] Since that article was prepared the society has produced the following works:—
Berlioz's Flight into Egypt(1879); Sullivan's Prodigal Son (1879); Handel's Utrecht Jubilate (1880); Mendelssohn's Psalm xliii (1880); Saint-Saëns' Deluge (1880); Graun's Death of Jesus (1882); Gounod's Redemption (1883); Rubenstein's Tower of Babel (1883); Paine's Nativity (1883); Cherubini's D minor Mass (1883); Bruch's Arminius (1883); Bach's Ein' feste Burg (1883); Gounod's Mori et Vita (1886); Bach's B minor Mass (1887).
The fifth triennial festival was given in May, 1880, and the sixth in May, 1883. The bicentenary of Handel's birth was celebrated on Feb. 22, 1885, by a concert of selections from several of Handel's oratorios. Mr. Carl Zerrahn has remained as conductor, and Mr. B. J. Lang as organist.
Harvard Musical Association. [See vol. i. p. 693.] The fifteenth and sixteenth seasons of symphony concerts were given in the Music Hall, in 1879–80 and '80–81 respectively, and the seventeenth in the Boston Museum (a theatre) in '81–82, since which the Association has with-drawn from the concert-field, it being found that the Boston Symphony Orchestra furnished all the high-class orchestral music that the public demanded. Mr. Carl Zerrahn remained as conductor until the end.
Apollo Club. Formed in July, 1871; incorporated by act of the State Legislature in March, 1873. It is composed of male voices, and is supported by assessments levied on associate members, among whom the tickets for the concerts are divided, none being sold to the public. Membership as an associate is perpetual so long as the assessment is paid. Most of the concerts have been given in the Music Hall, and Mr. B. J. Lang has been conductor from the beginning.
Boylston Club. Formed in 1872. Supported after the manner of the Apollo Club. It was originally intended for male voices, but shortly after the retirement, in April, 1875, of the first conductor, Mr. Joseph B. Sharland, and the election of a successor, Mr. George L. Osgood (who is still in charge) female voices were added, though the male chorus was retained for portions of each programme presented. Nearly all of the concerts have been given in the Music Hall.
The Cecilia. Formed in 1874, under the patronage of the Harvard Musical Association, for the purpose of presenting choral works for mixed voices at the symphony concerts. In 1876 it became an independent organisation and has been supported on the associate system. Mr. B. J. Lang has been conductor since the formation of the club.
The Euterpe. Formed in December, 1878, 'for the encouragement of music.' Its concerts so far, given in various small halls, have consisted of chamber music by string bands of from four to eight. Tickets are distributed among subscribing members, whose rights are secured, after election, by annual payment of assessments. At the concerts the players occupy a stage in the centre of the apartment, the audience being seated so as to face the stage from all points.
Arlington Club. Formed in October, 1879. Male voices and supported on the associate system. In the first three seasons, 1879–82, Mr. William J. Winch was conductor. For the two succeeding seasons Mr. George W. Chadwick served. The concerts were given in the Horticultural Hall. Of late the club has given few signs of life.
Boston Philharmonic Society. Formed in