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NEW YORK, THURSDAY, January 5, 1922.
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VOL. LXXXIV—No. 1. Whole No. 2178.
uted to lack of preparation on the part of the management in not giving the new leader sufficient time, and due to this an apparent nervousness overcame him at first; but in later scenes he regained his confidence and gave a good account of his ability.
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MARY GARDEN SCORES GREATEST TRIUMPH
OF HER CAREER IN REVIVAL OF “SALOME’
CALVE SINGS IN BOSTON AGAIN AFTER EIGHT YEARS’ ABSENCE
Impresaria of the Chicago Opera at Her Best in Famous Strauss Work Not Heard for Eleven Years; Muratore, as the Herod, Surpasses His Best Efforts and Also Shares the Honors—Galli-Curci Likewise Captivates Capacity Audience in “Lucia” and Is Wildly Acclaimed—Edith Mason’s Manon One of the Season's Greatest Treats—
Namara Makes Sensational Debut in “Thais”—“Love for the Three Oranges” Produced—Other News
Symphony Plays Music in Memory of Saint-Saëns—Morini Wins Brilliant Success in Debut Recital—Chaliapin Triumphs Again—Pierce Conducts Choral Concert —Schroeder Artists Active—Ary Dulfer Pleases at Cecilia Concert—Herbert Schmidt in Interesting Recital
Boston, Mass., December 30, 1921.—Emma Calvé, prima donna favorite of a generation ago, returned to Boston after many years’ absence Sunday afternoon, December 25 for a concert in Symphony Hall. Assisted by Olga Sapio, pianist, Mme. Calvé was heard in a program of Spanish and old French songs, in a group of modern French songs and in the airs from “Carmen” that have contributed so much to her fame. Although the voice per se of this great artiste has been necessarily affected by advancing years, Mme. Calvé’s skill, musical sensibilities and dramatic genius are still very much in evidence. She was warmly welcomed by a small audience, but refused to sing encores.
Miss Sapio displayed her abilities in pieces by Debussy, Scott and Chopin, and was deservedly applauded.
Music in Memory or Saint-Saëns by Symphony.
The adagio from Saint-Saëns’ symphony with organ was played in memory of the composer at the symphony concerts of Friday afternoon and Saturday evening, December 23 and 24, in Symphony Hall, its spiritual serenity and lofty beauty making it an appropriate tribute. Mr. Monteux also observed the 600th anniversary of the death of Dante with a fine performance of Liszt’s relatively uninteresting although admirably conceived “Dante” symphony. The apotheosis of Beatrice in the Magnificat was attained by means of a chorus of female voices joining with the full orchestra, the chorus having been trained by Mr. Monteux himself. The remaining numbers of the program were the third act of Rimsky-Kor-sakoff’s “Miada,” arranged by the composer for concert performance and entitled “Night on Mount Triglaff,” and Massenet’s dramatic overture to “Phedre.”
Erika Morini Wins Brilliant Success in Debut Recital.
Erika Morini, violinist, played in Boston for the first time Thursday evening, December 29, in Symphony Hall, this being the fourth concert of the Steinert series. Miss Morini played Saint-Saëns’ familiar concerto in B minor delightfully and proceeded to Bach’s sonata in G minor for violin alone, which she interpreted with rare musical feeling. These pieces served admirably to reveal the qualities that have won her such extraordinary praise wherever she has appeared. Her tone is warm, full and invariably beautiful, her intonation is well-nigh flawless and she is extremely agile technically. Seldom does one hear harmonics and double stopping of such an agreeable nature. These qualities, however, are fairly common nowadays and it requires something more to stir an audience as Miss Morini does. Her instincts are clearly those of a finely attuned musician for whom it is natural to phrase beautifully—witness her truly beautiful performance of the slow movement from the concerto and the charm with which she played the Siciliano in the Bach number. She has, moreover, a sincere communicative ardor which makes her playing unusually convincing, and becoming modesty. Miss Morini’s program also included lighter pieces by Thomé, Godard and Wieni-awski. She brought the concert to a brilliant close with Sarasate’s “Faust Fantasy.” Needless to add, Miss Morini was recalled again and again and added many extra pieces. Emanuel Balaban was a helpful accompanist.
Chaliapin Triumphs Again.
Feodor Chaliapin, celebrated Russian bass, gave his second and last Boston recital of his present American tour Wednesday evening, December 28, in Symphony Hall. As at his previous concert, Mr. Chaliapin announced his songs by referring to their numbers in a book of English translations. On this occasion he sang pieces by Sakh-novsky, Rubinstein, Rimsky-Korsakoff, Tschaikowsky, Dargomirzhsky, Konneman, Malashkin, Schumann and Moussorgsky.
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hearts of the listeners. True, here and there a phrase seemed dragged, but this might not have been the fault of the singer, who once in a while took the bit in her own hands, and then the performance was more accelerated and thus more effective. Miss Mason has many good roles in her repertory, but the first palm is given her Manon.
Lucien Muratore was Des Grieux, and this should convince those who were not on hand that, as far as the two lovers were concerned, the performance was highly meritorious. Muratore has been heard many times in this role, yet he has returned with a fresher and even more dependable organ. Thus, his Des Grieux was elegant, suave,
MARGUERITE NAMARA,
Cheney Johnson Photo
whose return to the Chicago Opera Association was a most successful occurrence on Saturday, December 31, when the attractive young artist was heard in the leading role of “Thais” Since the rumor that Mary Garden intended giving the role to Namara, there has been much discussion as to how the singer would fare. However, judging from all reports, Miss¡ Garden’s selection was thoroughly justified. Namara has gained both artistically and vocally since she appeared with the company several years ago, and is described is “the big surprise of the season.”
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tender, passionate, and voiced with golden tones that made it dearer to his auditors. He was at his best in the St. Sulpice scene, where he completely electrified the audience, which recalled him time after time to acknowledge its vociferous marks of approbation. The Lescaut of Alfred Ma-guenat has its excellent points as well as its shortcomings. Mr. Maguenat can be lauded for his characterization of the part and for most of his singing, but he should be censored for opening some of his tones and for juggling with the French language in order to produce those open throated tones that are unmusical to the ear. Although not quite recovered from a slight attack of la grippe, Paul Payan made a noble and dignified Count, whose every gesture suggested a sincere and refined artist. Dua and Defrere, in two small roles, did wonders.
Gabriel Grovlez, one of France’s leading composers, made his debut here at the conductor’s desk and showed conclusively that he knows his business. Mr. Grovlez knows how to follow the artists, and, although his reading of the first act and part of the second left much to be desired, especially as far as tempos were concerned, this may be attrib-
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“Lucia,” December 24 (Matinee).
Chicago, 111., December 31, 1921.—On account of the Christmas holiday the performance of “Lucia,” which took place on Saturday afternoon, December 24, comes under review only at this late date, and for that reason only a few lines will be given to this, one of the best performances of the present season. Never before in her American career has Galli-Curci sung as wonderfully as on this occasion. She enthralled her audience by the beauty of her golden voice, and the ovation that shook the vast Auditorium after the Mad Scene was the most explosive demonstration ever received by an artist in these surroundings. The enthusiasm of the audience was well justified, as the diva gave her listeners a treat not soon to be forgotten. Her singing of the title role has made history in the annals of grand opera in this city, and her name will live among those of the great interpreters of Donizetti’s music. The star had for a co-partner that sterling and unassuming tenor, Tito Schipa, who this season is surpassing any of his part efforts.
־His Edgardo was a .potent factor in making the performance memorable. He sang all through the afternoon with great beauty of tone, and his. delivery of the difficult “Tombe degli avi miei” reminded one of Bonci at his very best. It is such singing as this that will make opera more popular, and the audience manifested its pleasure by feting the young tenor to the echo and recalling him innumerable times before the curtain. Giacomo Rimini, one of the most reliable baritones of the company and an artist to his finger tips, was a handsome and well voiced Ashton, and the Raimondo of Virgilio Lazzari was capital in every respect.
Cimini did himself proud by the manner in which he read the old score, which, under his forceful baton, was rejuvenated.
The conductor shared first honors with the principals.
“Manon," December 26.
The first performance this season of Massenet’s “Manon” was the kind of presentation one always expects right after a holiday. This reporter is not a dyspeptic, yet it may have been due to that very cause after a very heavy turkey dinner that he only enjoyed moderately a work that generally pleases immeasurably; but it might also be due to the ragged manner in which some of the scenes were presented and also sung. It has been said around the Auditorium that some performances are put on without rehearsal, while others are rehearsed time after time.
This lack of rehearsal cannot enter into the provinces of a reviewer. An opera is judged on its merits; likewise the manner in which it is presented, notwithstanding attenuating circumstances in either direction, and, considering that the work of the chorus was poor on this occasion, is not made better by the fact that the chorus was only given one rehearsal. The fact remains that this body of singers did very poor work, where heretofore it has always given pleasurable moments. The two first acts, for some unknown reason, dragged, and this is regrettable, as Massenet’s music, though not deep, is generally exhilarating when taken at a lighter tempo.
Then, the stage management was not up to standard. The mise en scene of the second act was very poor. If these eyes are not mistaken, the scenery was that of one of the scenes of “Andre Chenier,” and for that reason the window from where Des Grieux reads his letter to Lescaut was placed at the left of the spectator instead of at the right. A small detail, to be Sure, but just the same it made all that scene lopsided—nay, hilarious. The real reason why Des Grieux reads the letter near the window is that it gives an opportunity for De Bretigny and Manon to be alone, far from the ear of Des Grieux, but, as presented at the Auditorium on this occasion, unless deaf, Des Grieux would have known of the plot of his kidnapping. In the same scene also were noticed several other mishaps that tended to irritate the eye as much as the • ear by some of the singing of the chorus and of at least one of the principals.
Having taken space to enumerate some of the shortcomings of the opera, its good points will now be related. The title role was entrusted to that new star of the company, Edith Mason, who, if memory serves right, left a big imprint in the same part after her appearances at Ravima two seasons ago; but since then she has appeared in the role in Paris, winning there the full approval of the public and press alike. The Parisians showed good taste, as Mason’s Manon is a beautiful gem. Superbly costumed, she was ravishing, and in superb voice she sang herself into the
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