MUSICAL COURIER
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How the Pacific Coast Agrees with
All Other Points of the Compass Long Since Have Agreed with the Pacific Coast Where This American Tenor Is Concerned
songs that Hackett is at his best. The “Aubade” from Lalo’s “Le Roi d’Ys” and Franck’s little known “Nocturne” were models of good singing.”
—San Francisco Examiner.
“Arthur Hackett whose previous appearance in San Francisco won him a host of admirers, was greeted with the cordiality of an old friend, and many more among the crowd that filled the auditorium, with the beauty of his tones and their heart-moving intensity. He sang the recitative and aria from Debussy’s “Li’Enfant Prodigue” and the Aubade from Dalo’s “Le Roi d’Ys” admirably but the Schubert and Schumann which followed revealed the real Arthur Hackett and brought him overwhelming applause.”
—San Francisco Call and Post.
OAKLAND:
“Hackett is an all-around tenor. His voice fuses lyric and dramatic qualities so nicely that you can assign him definitely to neither category. In his lyric moments he employs his high register with exceptional sweetness and suavity, succeeding, nevertheless, in a facile entrance upon more oratorical passages. There is a round, rich mellow quality to balance this when he moves nearer the baritonic range.”
—Oakland Tribune.
LOS ANGELES:
“The soloist was Arthur Hackett, the excellently schooled and artistic tenor. What a fine evenness of tone Arthur Hackett evinces in his singing! You cannot fail to be pleased and even fascinated by it. Particularly beautiful was his rendition of “In Fernem Land” from “Lohengrin.”—Los Angeles Times.
“For soloist no artist has done more magnificent singing than Arthur Hackett, tenor. He has a robust voice with a rich baritone quality to it. It is even throughout its expanse, under cultured control and has warmth as well as breadth.”
—Los Angeles Evening Express.
“A young tenor of sure intonation, wide range, and artistic singing qualities, whose solos won him instant and sure popularity with his audience yesterday. The “Lohengrin” aria, “In Fernem Land” showed the broad dramatic power to which his voice lends itself well, and his later songs were beautifully sung.” —Los Angeles Examiner.
“Sharing honors with the great orchestra, the guest soloist, Arthur Hackett added a laurel to his own crown in his splendid singing of the aria from Wagner’s “Lohengrin.” His voice is of the Wagnerian robustness without unnecessary forcing, and his top notes floated over with a most satisfying volume. Many recalls convinced the singer of true appreciation for his artistry.” —Los Angeles Evening Herald.
“The soloist of the day was a joy indeed. To sit back and listen to the finished singing of Arthur Hackett is a rare pleasure. His voice of exquisite lyric quality is used with the greatest intelligence. His poise and grace of manner are also assets.	His
diction is clean and free. The “Lohengrin” aria, sung in German, and the Massenet and Lalo numbers in French, gave ample opportunity for variety of treatment and Hackett made each one a thoroughly artistic achievement.” —Los Angeles Record.
PORTLAND:
“One of the best honest-to-goodness tenors who has sung in this section for a long time. He has a silvery, opulent, charming lyric tenor voice of satisfactory volume, and his diction is painstaking and beautifully distinct. It is a pleasure to hear such a finely-trained native American tenor as Mr. Hackett.”-- The Or eg ornan.
“Mr. Hackett scored a .big hit. His voice cannot be called unusually large but it is of beautiful quality and under perfect control. His diction is the best heard here in years, and the beauty of it is that he delivers the words so distinctly without sacrificing the music, as is frequently done.”—Oregon Daily Times.
“Made his first appearance in Portland, and won his audience completely in his first number, recitative and aria from Jephtha (Handel) which he sang with great dignity and dramatic intensity. His voice is a lyric tenor of great beauty. In fact he is a real artist.”
—Portland Telegram.
SEATTLE:
“Has a tenor voice of the first magnitude. His tones are of excellent quality and unusual clarity. His enunciation could not be surpassed either in his French or English songs. His entire program was well chosen, each number being of the highest standard.” —Seattle Star.
“Displayed a voice of intrinsic smoothness, power and richness of tone, splendidly trained. His program, one of the most thoughtfully' chosen, emphasized his grace of technique, purity of tone and sympathetic style.”—Seattle Times.
SACRAMENTO:
“Arthur Hackett sings well, exceptionally well. His work in the concert field is thoughtfully accomplished and he is fortunate enough to have as a foundation for his musicianship, a tenor of fine quality—one that is sweet enough and pure enough and true enough to suit the most high of the musical clan. Arthur Hackett has a way with him, personality and temperament. He establishes a friendly atmosphere and his dignity in so doing made his audience quick to approve. Altogether, the recital was one of those from which one goes home content and satisfied; satisfied both with the fulfilled purpose of it and with hours so well spent.”—Sacramento Bee.
“American born and splendidly trained, there is no concert tenor now before the public whose recitals are more certain to give real pleasure. He is a singer of ingratiating freshness and personality, whose intelligence and taste are admirable and whose voice is one of smooth quality, silvery in its upper tones and with all the resonant richness of a baritone in its lower. In his singing he shows fancy, a bit of humor, and a quiet impressive strength. His enunciation is a joy to hear and there were plenty of songs in English to manifest it.”—Sacramento Union.
SAN FRANCISCO:
“Mr Hackett is a musicianly person: he sings with good taste and he has the gift of pure enunciation in a rare degree. The words come to you, and whether they be in French, German or English, you never have any trouble in telling what they mean. English is as beautiful as Italian when it is sung as Hackett sings it. Yet I think it is as an interpreter of French
For Terms and Dates
LOUDON CHARLTON, Carnegie Hall, New York
New York and Chicago Acclaim Lyell Barber
One of the most successful piano recitals in New York this season was given- by one of America’s own products, Lyell Barber. Every criticism in the daily newspapers was eulogistic, thus duplicating the record of the Chicago critics covering Mr. Barber’s recital there last season.
Mr. Barber, although young in years, is not inexperienced. He appeared twice with the Minneapolis Symphony Orchestra, playing the Tschaikowsky B flat minor concerto, under
© Underwood & Underwood
LYELL BARBER
the direction of Emil Oberhofler; then came a Chicago recital and appearances before a large number of prominent musical organizations, in Milwaukee, Pittsburgh, Washington, Grand Rapids, Rochester, Baltimore, Brooklyn, Topeka, Holyoke Springfield, Smith College, etc.
As a result of his successful New York recital, an Australian tour was offered Mr. Barber for this spring and summer, which he refused for the reason that he desires to devote the next six months to further study and development in preparation for next season’s engagements.
.Walter Anderson, who has just made a long contract for the management of this young artist, has arranged for another New York recital in October, also one at Chicago for the forepart of November, under the local management of F. Wight Neumann, with a mid-western tour immediately following.
Althouse Off on Long Tour
After having had a busy December singing in the East, Paul Althouse left for Colorado, where he opened an extensive western tour at Pueblo on January 2. Mr. Althouse will play a succession of dates in that state, under the local direction of Arthur M. Oberfelder, of Denver, passing from there to the local management of the Elwyn Concert Bureau, of Portland, Ore. While under the last management Mr. Althouse will appear in the states of Wyoming, Idaho, Oregon, Washington and Montana. February will find the tenor in the state of California, opening in San Francisco the first week in the month and appearing thereafter in San Jose, Fresno, Ontario and Los Angeles, among other places. Mr. Althouse will not return to New York before March.
Simmons Presenting Songs by Mabel Daniels
William Simmons, the New York baritone, will be heard as soloist with the Chaminade Society of Brooklyn on Tuesday afternoon, January 17, in a program of compositions by Mabel Daniels of Boston, with the composer at the piano. The baritone will present Miss Daniels’ “Villa of Dreams,” “The Desolate City,” “Beyond,” “Two Triolets,” “Daybreak” and “Glory and Endless Years.” Mr. Simmons has given a program of this composer’s songs for the Mac-Dowell Cl ib of New York and also for the Matinee Musical Club of Philadelphia.
Ney Makes Tenth Appearance in Metropolis
Elly Ney will make her tenth Neyr York appearance of the season at Carnegie Hall on Sunday afternoon, January 22, when she will play the Beethoven “Emperor” concerto with the Philharmonic Orchestra. Mme Ney made her American debut with an all-Beethoven program, but this will be her first appearance as an interpreter of Beethoven with orchestra.
Mocchi Gets Back Colon
The Musical Courier is informed that Walter Mocchi, the well known Italian impresario, has been awarded the concession for the foremost South American opera house, the Teatro Colon of Buenos Aires, for the season in the summer of 1922. Mocchi was formerly at the Colon but for the last season or two the concession had been held by Signor Bonetti_, while Mocchi’s company has been playing at the Teatro Coliseo.
Cleveland Fortnightly Club to Hear Hutcheson
Ernest Hutcheson, whose present season is the busiest of his entire career, will give a recital in Cleveland, January 17, under the auspices of the Fortnightly Club. Two days later he will be heard at Westfield, N. J.