Page:A Dictionary of Music and Musicians vol 4.djvu/731

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MASSON.
715
MEFISTOFELE.

with the Royal Society of Musicians in 1866, the late Mr. F. J. Masson, her brother, gave a donation of 200 guineas to the latter society in remembrance of her. 'As a singer this lady was never rated as high as she deserved to be, because her voice, which was a mezzo-soprano, had no remarkable power nor charm. But it had been thoroughly trained under the example and influence of Madame Pasta, and its owner's reading of music, intelligence, expression, and finish, were thoroughly appreciated by all those select connoisseurs who valued style and understanding beyond greater natural powers than hers turned to poor account. As a professor Miss Masson was widely and deservedly in request. Apart from her profession, she was at once conscientious, energetic, and refined, and had withal that racy originality of character which will make her long remembered and missed. In brief, she was a good artist, in part because she was a good woman and a gentlewoman.'[1]

[ A. C. ]

MATERNA, Amalie. Add date of birth, 1847, and that she sang the part of Kundry at the first performance of 'Parsifal,' July 28, 1882.

MATHESON, Johann. The name should be spelt Mattheson throughout, and the day of death added, April 17. In list of works add 'Critica Musica' (1722).

MATHILDE DI SHABRAN. For the date of the production of the work in Paris, read 1857, and for that of the first performance in London, read July 3, 1823. It took place at the King's Theatre.

MATINS. P. 238b, l. 19, after Invitatorium add in Appendix, vol. iv. p. 685b.

MATTEI, Abbate. P. 239a, l. 9, for May 17 read May 12.

MAUREL, Victor, born at Marseilles, received instruction at the Paris Conservatoire in singing from Vauthrot, and in opera from Duvernoy, and gained the first prizes in both subjects, co-equal with Gailhard, in 1867. He made his début at the Opéra as De Nevers and Conte di Luna in or about 1869. He was next in Italy, where he played the Cacique on the production of Gomes's 'Guarany' at Milan, March 19, 1870. He made his début at the Royal Italian Opera as Renato, April 21, 1873, made a great success, and was engaged there every year until 1879 inclusive. His parts comprised Don Giovanni, Tell, Almaviva, Hoel, Peter the Great, Valentine, Hamlet, the Cacique; in operas new to England, Telramund, May 8, 1875; Wolfram, May 6, 1876; the Flying Dutchman, June 16, 1877, and Domingo in Massé's 'Paul and Virginia,' June 1, 1878. He reappeared at the French Opéra as Hamlet, Nov. 28, 1879, and also played Amonasro on the production there of 'Aïda,' March 22, 1880. He undertook the management with Corti of the Italian Opera at the Théâtre des Nations with disastrous financial results, in spite of a company including Mesdames Marimon, Adler-Dévri{e`}}s, Nevada, and Tremelli, Gayarré, the brothers De Reszke, and himself, and the successful production of Massenet's 'Hérodiade,' Feb. 1, 1884. He played at the Opéra Comique, Peter, Oct. 6, 1885, and Zampa, Jan. 19, 1886, with great success. He played again at Covent Garden in 1886, and at Drury Lane for the first time in 1887 in favourite parts. Between these engagements he created, with the greatest success, Iago in Verdi's 'Otello,' Feb. 5, 1887, and showed himself the best acting baritone on the Italian stage since Faure.

[ A. C. ]

MAURER, L. W. Line 2 of article, for Aug. read Feb.

MAY, Edward Collett. Add date of death, Jan. 2, 1887.

MAY QUEEN. Add that it was first performed June 24, 1845, at Bennett's own concert.

MAYER, Charles. Add that a Mazurka by him in F♯ major was for some time considered to be by Chopin, and as such was included in the first issue of Klindworth's edition. It has been removed from later issues.

MAYER, Johann Simon. Line 11 of article, for Graubündten read the Grisons. (Corrected in late editions.) P. 241a, l. 10 from end of article, for 1795 read 1800; and a line below, for 1812 read 1813.

MAZAS, J. F. Add day of birth, Sept. 23.

MAZZINGHI, Joseph (vol. ii. p. 242a). To have made clear the incongruity in the manner of the original performance of the duet 'When a little farm we keep,' it should have been mentioned that the duet was accompanied on the pianoforte by one of the singers of it, upon the stage.

[ W. H. H. ]

MEARS, Richard, son of Richard Meares, a maker of lutes, viols, etc., who in 1677 and for many years afterwards carried on business in Bishopsgate Street, 'near to Sir Paul Pinder's,' was bred to his father's business, but abandoned it for that of a publisher of music. He established himself in St. Paul's Churchyard, and published, among other things, two collections of Harpsichord Lessons by Mattheson, Handel's first of 'Suites de Pièces pour le Clavecin,' and his opera, 'Radamisto'; Ariosti's opera 'Coriolanus,' and Corelli's Sonatas and Concertos. The greater part of his publications were engraved on copper, but some of the later ones were stamped on pewter. He was unable to make head against Walsh, and his business gradually declined. He removed first to Birchin Lane and thence to London House Yard, where he died about 1743.

[ W. H. H. ]

MEDIATION. P. 245a. l, 11, for Tones, the Gregorian, read Gregorian Tones in Appendix, vol. iv. p. 655, etc.

MEFISTOFELE. Grand opera in a prologue and five acts, words (after Goethe) and music by Arrigo Boito. Produced at Milan, March 5, 1868. Remodelled and brought out again, in a condensed form (prologue and four

  1. Athenæum, Jan. 14, 1865.