Lady Helen Dufferin is known principally for her songs and ballads, which, both for comic humor and pathos, rank among the best in the English language. “The Irish Emigrant’s Lament” compares favorably with any English lyric. Charlotte Sainton Dolby, Elizabeth Mounsey and Harriet Abrams composed likewise numerous songs, and Kate Fanny Loder the operette “Fleur d’Epine.”
There exist also many splendid compositions by American women. When in 1893 the Woman’s Building at the World’s Columbian Exposition at Chicago was dedicated, Mrs. H. A. Beach’s “Jubilate” was received with greatest enthusiasm. Also her “Gaelic Symphony” was played by many famous orchestras.
The “Dramatic Overture” (Op. 12) of Miss Margaret Ruthven Lang has been frequently performed by the famous Boston Symphony Orchestra.
Of the innumerable virtuosos, who interpreted works of the above-named composers and others, the American violinists Arma Senkrah and Maud Powell, the Italian Teresina Tua, the German Maria Soldat, and the South-American pianists Terese Careno and Giomar Novaez, not to forget the Hungarian Sophie Menter and the Russian Annette Essipoff have been the most eminent.
“Dem Mimen flicht die Nachwelt keine Kränze,” the great German poet Schiller has said in one of his poems, pointing out that, while the painter, sculptor, composer and writer transmit their works to remote generations, the glory won by the actor and singer exhales with their disappearance from the stage as quickly as does the fragrance of a delicate flower. The record of the performer’s and singer’s gift remains only as a tradition, as a legend.
So it is. The majority of those actors and singers, who in bygone times held large audiences spellbound, are forgotten. There are only few exceptions which in the history of dramatic art and music will remain. So for instance with the history of the English stage of the latter part of the 17th Century the names of two great actresses are inseparably connected: Gwynn and Elizabeth Barry. The former especially was the darling of the people, and much favored by King Charles II. During the following century Anne Oldfield, Mary Porter, Elizabeth Billington, Anne Spranger Barry, Hannah Pritchard, Mary Robinson, Jane Pope, Susanne Cibber, Frances Abington and Margaret Woffington were celebrated for their talent, charm, and elegance. Of Sarah Siddons, called “the Incomparable,” it has been reported that by means of her excellent art as well as by her beauty, dignity and personal distinction she reduced her audiences to an awe-struck reverence. Edmund Gosse, in an article devoted to the memory of Sarah Siddons says: “Under the effect she produced, women as well as men lost all command over themselves, and sobbed, moaned, and even howled with emotion. Young ladies used suddenly to shriek; men were carried out, gibbering, in hysterics.”
Of the many excellent English actresses of the 19th Century and of our present days Louise Nisbett, Mary Stirling, Elizabeth O’Neill, Helen Faucit, Lillian Neilson, Deborah Lacy, Frances Kemble, Adelaide Kemble-Sartoris, Charlotte Dolby, Ellen Terry, Gertrude and Rose Coghlan have to be mentioned. Also we must remember the great triumphs of Nellie Melba, a native of Australia, but at home on the stages and in the concert halls of Europe as well as of America.
The United States produced likewise a number of brilliant actresses and opera stars. Among the former were Clara Fisher, Mary Vincent, Laura Keene, Anna Gilbert, Anna and Cora Ritshie, not to forget Mary Ann Dyke-Duff, whom the elder Booth declared to be “the greatest actress in the world.” Furthermore, there was the classic Mary Anderson, who was followed later on by such eminent performers as Ida Conquest, Adelaide Phillips, Julia Marlowe, Leslie Carter, Maud Adams, and Ethel Barrymore.