Old Missoula

‘Madame F. Roena Medini’ aka Frankie Miller from Big Bull Run

 

Medini Married.

A Favorite Singer and Former Missoulian Married in Helena.

From the Helena Independent is clipped the following notice of the marriage of a lady well known in Missoula, where she resided for some two years, and where she made a host of friends:

Madame F. Roena Medini and H. J. Cassedy were married last evening at the residence of Henry Foote by Rev. J. H. Crooker, of the Unitarian church. The nuptials were not a surprise to the friends of Madame Medini and Mr. Cassedy, rumor having preceded the event. They have a wide circle of friends in musical and social circles who wish them every joy. Mr. Cassedy is one of the efficient clerks of the district court as well as a musician. Madame Medini went abroad at an early age, having evinced great musical talent, and was not satisfied until she became not only an accomplished linguist but had scored brilliant success in grand Italian opera throughout Europe. Having come west for a much needed rest, she was upon the eve of returning to her professional duties in New York when she was persuaded to visit Helena. Her talents were in such immediate demand that she remained and has been for two years unable to accede to the calls upon her time as a vocal teacher.

She has endeared the heart of every school girl and boy by her enthusiasm and sympathy in the public school which has been raised to a standard of vocal culture not before attempted in any public school in America. Her many receptions have not prevented the publication of her poem “Edalaine,” now in its third edition, and a method of vocal culture now in press.

Madame Medini will retain her name for convenience of authorship and her musical profession which will continue as usual.

The above article appeared in The Morning Missoulian on January 3, 1893.

 

The above article offered only a brief glimpse of Madame Medini’s intriguing background. Another article in one of the leading music journals of the day, “Werner’s Magazine,” gave a better picture of this lady in 1895 [This article also features a photograph of Roena]:

MME. F. Roena Medini.

MME. F. Roena Medini is one of those women whose successes are awarded to her with a hearty good-will that has nothing but love behind it. She is ever a marvel to her friends, and is always surprising them with some new talent or accomplishment. Her life is one of great activity, yet fatigue seems to be laid aside like a mantle, and under a strain that would overcome the average woman, she will appear in public after twelve hours’ work with a countenance that lights up till it is not only a pleasure to hear her voice, but also a pleasure to look at the sweetness of her face and the sunshine of her smile. Whatever she undertakes – whether it be a song recital of her own, a lecture on vocal subjects, or the conducting of a large chorus – is a success. Perhaps her deepest pleasure is found in those moments which she can spare for literary work. Her writings always find a ready market, for they are at once practical, instructive and chatty. She is also a fine horsewoman, and can swim and actively enjoy almost any sport. Recently she surprised everybody by giving a reading. Her voice filled the large auditorium with perfect ease, and the result of her attempt was entirely satisfactory.

Mme. Medini was educated vocally by the old Lamperti. She also speaks enthusiastically of her work with Mme. Elpina Lamperti, the daughter-in-law and assistant teacher of il maestro, of whom she writes: “I owe [to Mme. Lamperti] a world of patient and inspiring assistance in conquering the difficulties of the first steps, and this is everything.” The care and patience bestowed on her preparatory work by Mme. Lampeti is, in turn, given to each pupil by Mme. Medini. Her work is synonymous with conscientiousness.

Mme. Medini is the supervisor of music in the public schools of Helena. Two thousand boys and girls in that city consider her their especial property and adore her. She is also the leading soprano in the Unitarian Church, teaches a large class of private pupils, conducts concerts, and has just been engaged to take charge of a dramatic club whose members have found in her the only person who can coach and at the same time play with them. Yet all this is but a small part of her duties. She is constantly writing and planning future literary work. Recently she finished a volume of sonnets. Her work, “The What and How of Vocal Culture,” is known to all vocal students. It is a delightfully-written book, with just enough of the personal in it to make the reader feel that the writer has been through the many trials that beset the path of the student and that she has not forgotten those early days, but is a sympathetic counsellor – almost a personal friend. The book is the outcome of long study with Francesco Lamperti, and of much experience as a singer and a teacher of singing. The exercises, with their analyses, have been arranged for the use of pupils, and the work is intended to be of practical help to those that would improve and correctly use their singing voices. There are eighteen chapters, discussing, among other things, “The Power of Imagination,” “Breathing,” “The Emission of Voice,” “Enunciation,” “Accent,” “Long Life of Singers and Speakers,” etc. There is also an elaborate analysis of voice-production, with the author’s special and original marking of the well-known song, “Last Rose of Summer.” The book has been noted extensively by the press, and has helped many a vocal student over barriers to artistic singing. Mme. Medini is a rapid writer when her pen touches paper. Some of her work is planned months ahead, while some of it is the outcome of the inspiration of the moment, called out by an article just read. Her present effort is the series of articles, “The Vocal Stage-Aspirant and the Teacher,” now appearing in this magazine. It contains information helpful to every singer.

Mme. Medini has come in contact with many of the world’s great artists. When Ovide Musin heard he sing, to his violin accompaniment, “Una Voce” and Proch’s
Variations from memory, he exclaimed, “A truly perfect fioritura, and a voice rich and sympathetic.”

Among the many notices of her writings are the following of her last book. “Edalaine”:

“There is a fascination in the metrical form for lovers of verse, and ‘Edalaine’ deserves a prominent position on the poetic shelf,” – Detroit Free Press,

“Its dignity of style, purity of purpose, and philosophical truth make it readable to the lovers of prose and poetry,” N. Y. World,

“The sentiments in it are exalted and expressed in well-constructed verse,” Philadelphia Item,

“The muse chooses the simplicity of everyday life, and does not permit Pegasus to carry his rider beyond the ordinary vision.” – St. Louis Republican.

The above article appeared in Werner’s Magazine: A Magazine of Expression, Vol. 17 in 1895.

 

Madame Medini was also involved in Montana’s early suffrage movement. She was made president of Montana’s State Suffrage central committee in 1897.

 

While it seems the complete story of this dynamic lady will never be known, an article that appeared in a newspaper in 1877 revealed where she came from:

A New American Songster.

A letter from Wausau, Wis., to the Chicago Times, says: Ten or twelve years ago there lived in the then village of Wausau, better known as Big Bull Falls, a young girl named Frances Roena Miller, commonly known as Frankie Miller. There was nothing in her personal appearance particularly noticeable, unless it be a look of intelligence beaming from her big gray eyes, and a certain indefinable expression betokening will-power. Her greatest charm was her voice, which was peculiarly full. She was poor in this world’s goods, but rich in undeveloped resources. She could sing – her friends thought – charmingly, but not to her satisfaction. She knew she possessed vocal powers which she could not command – the inner consciousness that she could excel as a vocalist if she could only learn how to bid the inner forces of her being obey her will. She had no one to help her, and so she determined to help herself. She taught school, and thereby earned money with which to travel. She went to Hannibal, Mo., where she had friends living, and again taught school while pursuing her musical education. Here she was noticed by a clergyman who, shortly after making her acquaintance, removed to Boston. By his advice and assistance she secured in Boston a situation as soprano in one of the churches, where she remained a year, adding to her store, earned as a singer, by writing for the press. Here she attracted the favorable notice of the poet Longfellow, who has ever since remained her firm friend. Becoming convinced that she could pursue her musical studies with greater advantage in Europe, she sailed for France. Remaining there a short time, she went finally to Milan. Here for the past three years she has remained, supporting herself by her pen and studying under the best masters. Amidst all her struggles and trials she has remained the same simple, pure-hearted, brave girl she was when teaching school in Wisconsin, intent only on success. At length her hour of triumph has come. She made her debut recently at Milan with the most flattering success. Without friends or money, with only her clear brain and indomitable will, she has carved out for herself success for the present, and fame and fortune in the near future. She appeared in Milan under her own name of Roena Miller, and received many flattering notices from the local musical journals.

The above article appeared in The Milan Exchange (Milan, Tennessee) on December 13, 1877.