January 5, 1922
MUSICAL COURIER
3â
A MIXED OPERA BILL
OFFERED IN MONTEVIDEO
Well Known Metropolitan and Chicago Stars Featured—New Artists Heard
Montevideo, November 15, 1921,—Impresario Bonetti of the Teatro Colon, Buenos Aires, gave up the season which he had planned for Montevideo, and the only opera given there this year was provided by the Mocchi organization, which played at the Teatro Urquiza. The season began with rather a poor performance of “La Gioconda.” Both Besanzoni and Gigli were not at their best and Berthe Cesar, an Argentinian sopraho, was entirely inadequate. The public was lukewarm. Much better was the second performance, “Carmen,” with Besanzoni doing very well in the title role. Marinuzzi is a good conductor but he had considerable struggling to do with an inadequate local orchestra. The first real triumph of the season was the appearance of Rosa Raisa in “Norma.” The distinguished soprano was at her best and the audience received her with great warmth. Besanzoni, after singing “Carmen” in the afternoon of this same day, gave “Adalgisa,” showing no signs of fatigue.
“Piccolo Marat” the Novelty.
Mascagni’s “Piccolo Marat” was the novelty of the season and, though excellently performed, did not make much of an impression. Dalla Rizza was the soprano and Gigli did some splendid work in the title role, while Cirino was effective in the principal baritone role. The mise en scene was by far the best of the whole season and Marinuzzi got excellent work out of both singer and orchestra.
Miura Gives Butterfly.
Next came Tamaki Miura with her famous impersonation in the title role of “Madame Butterfly,” which made the same hit here as it has everywhere else throughout the world. Then followed “Cavalleria Rusticana,” in which Besanzoni, a much greater favorite in South America than North America, did well as Santuzza, supported by^ the tenor, Minghetti, and a baritone also named Besanzoni.
The next opera to be presented was “Tosca.” After that, Toti del Monte, a young coloratura who has had great success in South America, though she is not yet known in North America, scored an unsual success in the next opera of the repertory, “Rigoletto.” The public gave her a tremendous ovation after the “Caro Nome.” Señorita del Monte scored another success in the next performance when she sang the part of Philine in “Mignon.” Besanzoni again contributed a satisfactory performance in the title role, supported by Minghetti and a Brazilian bass, Ginheiro, who sang excellently in this debut. Next came Besanzoni again with a satisfactory Dalilah, poorly supported by the tenor, Maestri, an inadequate Samson. The conductor, Paolantonio, an Argentinian, also left much to be desired in this performance.
Dancer Turns Singer.
With the appearance of Puccini’s “Manon Lescaut,” something new was offered the public. Rosita Rodrigo, who four months before had been a music hall dancer, blossomed out in grand opera as the heroine. She was not impressive, nor was Minghetti, who had been called upon for so many roles in quick succession that his voice was tired. Paolantonio did much better with this opera than with “Samson.”
Madelaine Bugg, of the Paris Opera, appeared as guest, singing Mimi in “Boheme,”* and made a good impression. Minghetti, as Rudolfo, had one of his good evenings. A conductor named Canepa proved to know very little about the score and was lucky to escape without disaster.
Next came Boito’s “Mefistofeles,” in which Minghetti as Faust had one of his happiest evenings of the season. Cirino was excellent as Mefistofeles, and Mile. Bugg a satisfactory Marguerita. In fact, this was one of the best performances of the season.
Russians Also Present.
Mocchi had the good taste to bring a competent company of Russian dancers with him, headed by Vera Savina and Leonide Massine. These gave some very good exhibitions of choreographic art intermingled with the opera performance, and Vera Savina and her partner, Massine, have distinguished themselves particularly in the form in which they have presented various “tableaux vivants” and national dances.
The season ended with a repetition of “Madame Butterfly” in honor of the Japanese soprano, Tamaki Miura. The chorus and orchestra are sailing immediately to Italy to open the winter season at the Constanzi Theater at Rome; the majority of the soloists will also appear there this season, and returned by the same steamer.
No “Lohengrin.”
Mocchi, although he disappointed the subscribers for the season by withdrawing Gigli, Rosa Raisa, Rimini and Marinuzzi, reserved some pleasant surprises. The premiere of “Piccolo Marat” will always remain as an indelible page of artistic enjoyment in the annals of musical Montevideo, and incidentally two artists, the tenor Minghetti and the coloratura soprano, Toti del Monte, previously unknown here, earned indisputable success, for themselves. In the company there was also a young American soprano, Lula Hayes, who was to have sung Elsa to the Lohengrin of Gigli, but this did not materialize, as the latter left for the States to be able to fulfill his contract with the Metropolitan this winter.	X.
president of the National Federation. Mrs. Reuben Maurits sang “I Know that My Redeemer Liveth,” from the “Messiah,” and “Hear Ye, Israel,” from “Elijah,” accompanied by Mr. Middleschulte.
On December 16, a program of Christmas music was presented by the St. Cecilia Society in its auditorium, the music being sung by the choirs of Central Reformed, First Methodist Episcopal, Westminster Presbyterian and Park Congregational churches, directed by John W. Beattie, and St. Mark’s Choristers, led by their choirmaster, Harold N. Tower; assisting singers were Abram Hazenburg, Jacob Smits, Nellie Goss, Irene Dunn, Mrs. W. H. Loomis, Bertha Bradford Murphy, James Grocock, and Harold Tower.
So great has been the popularity of the Vesper^ Organ Recitals given on Sunday afternoons in St. Mark’s Procathedral by Harold Tower, that he will continue them during the month of December. On December 4, he was assisted by Frances Morton-Crume, contralto; on December 11 by Mrs. J. A. Michaelson, soprano; Mrs. Loren J. Staples, contralto, and Mrs. Harold Nye, contralto; on December 18 by St. Mark’s choir, Mrs. J. A. Michaelson, Mrs. Harold Nye, Andrew Sessink, tenor, and Abram Hazenburg, bass.
Gatty Sellars, English organist, gave three recitals before large audiences, at the First Methodist Episcopal Church on December 9 and 11.
Edward Rechlin, organist of New York, gave a Bach program of organ music of the Lutheran Church, on November 25, at the Emanuel Lutheran Church under the auspices of the Walther League.
The E. J. Pruim Music House presented Amy Ellerman, contralto; Calvin Coxe, tenor, and Vera Barstow, violinist, in a recital at the St. Cecilia auditorium on November 21. They sang and played part of the program with Edison recreations of their own performances.
The national conference of the American Federation of Musicians will be held in this city the third week in May, 1922. The convention was slated for Washington, D. C, but conditions have arisen which make a change of location necessary. It is expected that about 400 delegates from the United States and Canada will attend.
Marcia Lewis, soprano, assistant teacher for several years to Boris Ganapol of Detroit and Chicago, has opened a studio in this city. She has also a large class in Battle Creek. She sang the soprano role in the cantata, “Building of the Ship,” given by the music department of the Central Michigan Normal School at Mt. Pleasant. She is also giving many concerts throughout Michigan with Mme. Stur-kow-Ryder, pianist, of Chicago.
Harold Tower, organist, gave a recital December 2 in Grand Haven, Mich., under the auspices of the Grand Haven Tuesday Musicale.
Oscar Cress gave an interesting program of piano music, on November 25, before the Drama League at the home of its president, Mrs. Samuel D. Young.
The East End Glee Club gave a concert in the auditorium of Central High School December 1. William van Gemert was leader, and John Ryskamp accompanist. Mrs. J. _A. Michaelson, soprano, was the soloist, her accompanist being Maria Lund Royce. Selma and Irma Friedrich gave several harp numbers.
Mrs. William J. Fenton, who is at the head of the vocal department of Hope College, Holland, Mich., sang a group of soprano solos at a concert given by the college on December 5. Bruno Meincke gave several violin numbers, and Oscar Cress played piano selections.
Marbelle J. Kinsley, pupil of Reese Veatch, returned from a successful concert tour through the southern states. She has signed for another tour to begin in June.
Marguerite Colwell presented her advanced pupil, Hila Vandenbosch, in piano recital in the auditorium of the St. Cecilia building on December 8. Miss Vandenbosch played an exacting program with credit to herself and to Miss Colwell. She was assisted by Amy Hudson, soprano, who was accompanied by Lorena Davis.
Groups of children from the Student League of the St. Cecilia Society, under the direction of Elsa Hoertz, will sing Christmas carols in the hotels, restaurants, and, upon request, in private homes, from six to eight o’clock on Christmas Eve, for the benefit of the 100 tuberculous ex-soldiers of Grand Rapids. The idea has spread to the public schools, and the supervisors of music may undertake it next year as a national movement.
Programs of Christmas music are being given this week by the different high school orchestras. Central High Orchestra, under the spirited leadership of Conway Peters, gave an especially interesting one on December 6, which is the first of a series of monthly recitals. South High Orchestra and Band gave two programs under the direction of Forrest L. Buchtel. Union High, which has George Amos as orchestral director, and Irene E. Dunn as chorus director, gave a fine Christmas program December 23, including old familiar Christmas carols; “Marche Pontificate,” Gounod; “Supplication,” Martin Davids; Christmas Eve. Channing Lefebvre; “Three Kings,” Frederic Cowen; “Steep, Little Baby,” Colin Taylor, and “Lovely Appear,” Gounod.
H. B. R.
“THE MESSIAH” GIVEN A FINE
PERFORMANCE IN GRAND RAPIDS
Edward Johnson Has Return Engagement—Teachers’ Chorus
Gives Christmas Program—Ignaz Friedman in Interesting Recital—Wilhelm Middleschulte Plays His Prize Organ Composition—St. Cecilia Society Concerts—Many Christmas Programs
Grand Rapids, Mich., December 17, 1921.—A very fine performance of Handel’s “Messiah” was given on December 15 in the auditorium of Central High School, by the Calvin College Chorus of 180 voices, Reese Veatch director, with the assistance of an orchestra of thirty-six local players, with Sherman Tuller acting as concertmaster. The chorus has improved greatly since its last appearance, the precision of attacks, the distinct enunciation, and the dynamic expression being especially good. The difficult runs were given with clarity, and there were many beautiful tonal effects. Director Veatch deserves much credit for his splendid training of the chorus and orchestra, and for the verve and spirit with which he infused them. The soloists, who all acquitted themselves very capably, were Elizabeth Van Campen, soprano; Mrs. Loren J. Staples, contralto; Dr. William B. Klinesteker, tenor, and Joseph R. Hummel, baritone. Helen Baker Rowe was at the piano.
Seldom has there been such enthusiasm in musical circles as was aroused by Edward Johnson, tenor of the Chicago Opera, in his concert at the Coliseum on December 6. His beautiful voice, his almost perfect diction, and his feeling for the musical mood, gave his audience great artistic satisfaction, and he was obliged to respond to many encores. He will be assured of a crowded house when he returns in March, for he was immediately reengaged for this second concert. His program, which was interesting and unusual, included arias from “Aida” and “Carmen,” and numbers by Schubert, Hugo Wolf, Tschaikowsky, Pizzetti, Grimaldi, Hue, Russell, Katherine Glenn, E. J. Walt, and Curran. He was ably accompanied by Elmer Zoller. _ Appearing with Mr. Johnson on this program was the Philharmonic String Quartet of Chicago, the personnel of which is George Dasch, first violin; Fritz It'te, second violin; Otto Roehr-born, viola, and Carl Bruckner, cello. They played three groups of short numbers with beautiful tone and good ensemble. This concert was the second in the Master Artist course, which is now controlled by Morris White and a group of twenty public-spirited and musical people, acting as guarantors.
A program of old Christmas music was given in Central High School auditorium on December 16 by the Teachers’ Chorus of 100 voices, under the leadership of John W. Beattie. Early carols of Sussex, Alsace, Austria, Germany, Gascony, Lithuania, Bas-quercy, White Russia, Belgium, and Bohemia were sung with excellent phrasing and shading. The solo part in the old English song, “The Virgin and the Child,” was taken by Marie Danhof, soprano. Louis Eich, of the faculty of the public speaking department of the University of Michigan, read Henry van Dyke’s “The Other Wise Man.” The program was repeated on December 18 at the First Methodist Episcopal Church.
One of the most interesting recitals of the season was given on November 18 as a regular St. Cecilia program, by Ignaz Friedman, pianist. He delighted his audience with the sonata, op. 90, Beethoven; chaconne, Bach-Busoni; a Chopin group, and a group of his own compositions, ending his program with Liszt’s “La Campanella.”
On December 2, the St. Cecilia Society presented Wilhelm Middleschulte in an organ program at the Christian Science Church. A feature of the program was the playing of his own chromatic fantasie and fugue in C minor, which won the prize donated by the St. Cecilia Society to the National Federation of Music Clubs, in honor of Mrs. Edwin F. Uhl, a former president of the St. Cecilia Society and the first
Tamaki MIURA
Japanese Prima Donna Season 192122־
Now Being Booked in Concert, Recital and Opera American Management:
JULES DAIBER, Aeolian Hall New York
sSCHULZ
Eminent Cello Virtuoso & Conductor
OPEN FOR SEASON 1922-1923
x	Tel. 3144 Lenox
1186 Madison Ave.	New York City.
Well Known Pianist
TWO RECITALS Carnegie Hall, New York JANUARY 9, *MARCH 13
* (All Chopin Program)
MALKIN
HAENSEL & JONES, Managers
STEINWAY PIANO
IVI
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Mezzo Soprano
FLORENCE
Madame Rose
HER SUCCESS IN SAN FRANCISCO IS RECORDED IN THE FOLLOWING PRESS COMMENTS:
SAN FRANCISCO EXAMINER, December 2, 1921,— “She sang ‘Deh vieni non tardar’ from ‘Figaro’ and the familiar but never-to-be hackneyed ‘pur dicesti’ with a real sense of their formal beauty and between them, Schumann’s ‘Ich grolle nicht,’ a song which not one singer out of ten makes to sound real. It was good as tone work, capital as interpretation.”—Redfern Mason.
PACIFIC COAST MUSICAL REVIEW, December 10, 1921.—“Mme. Florence created one of the heartiest and most gratifying impressions ever received by any artists first appearing in this community. She proved herself possessed of a fine, pliant, warm and well-trained voice, evenly placed in all positions and used with an intelligence and discretion only to be found among truly accomplished artists.”—Alfred Metzger.
SAN FRANCISCO CHRONICLE, December 3, 1921.— “Her voice has beauty of tone, richness of color, expressive warmth and suavity of flow. Her artistry is of that satisfactory kind based on a technique firmly controlled, and her interpretations are vitalized by a personal vividness that has charm and grace.”—Ray C. Brown.
NEW YORK RECITAL, TUESDAY AFTERNOON, FEBRUARY 1, AEOLIAN HALL
Address: Box 62, Belvedere, Marin County, Calif.
Available for Concerts Season 1922-23