44
January 19, 1922
MUSICAL COURIER
fits him admirably both vocally and histrionically. Schipa’s physique is the ideal one for such a role and the music is especially well adapted to his vocal equipment. In such roles as Gerald, Schipa today stands alone among operatic tenors. He sang all through the evening delightfully, and a great part of the evening’s enjoyment was derived from him. Georges Baklanoff was excellent as Nilakantha. His portrayal was sinister, forceful, yet the note of tenderness was present whenever he addressed his daughter, Lakme. He sang with great effect the lines, “Lakme, ton doux regard se voile,” after which the audience showed unmistakably its contentment by long and well deserved applause. Alfred Maguenat was an elegant Frederick, both as to voice and acting. The smaller roles were well handled. Grovlez conducted.
“L’Amore Dei Tre Re/' January 12.
Due to a slight indisposition of Lucien Muratore, at the eleventh hour Riccardo Martin was called upon by the management to appear as Avito in “L’Amore Dei Tre Re.” Although unprepared, Martin came out of the ordeal with flying colors. Lucky indeed is the management which can count in its roster such a reliable and serviceable tenor, who has in his repertory so many roles as to be always on hand whenever needed, and this without demanding at least one rehearsal. Martin had often sung Avito while a member of another opera company; thus, he found himself completely at ease, and took opportunity to score a personal success. He sang very well and gave to the roles its poetic conception. The balance of the cast was similar to previous ones, including Mary Garden as Fiora, Virgilio Lazzari as Archibaldo and Georges Baklanoff as Manfredo. Polacco conducted.
“Tristan and Isolde,” January 13.
The second Wagnerian opera presented this season brought forth, after an absence of many years, “Tristan and Isolde,” sung in German. In order to present that opera the management had to cable to Frankfort, Germany, to secure Beatrice Kottlar, a Roumanian soprano, to sing the part of Isolde. Unheralded, the newcomer made a hit and this was well justified, as she is one of the best Wagnerian singers who have graced our stage. If she were as convincing in the second and third acts as in the first, she would be proclaimed the greatest Isolde since Lilli Lehmann. As it was, she made a deep and lasting impression. Mme. Kottlar is the possessor of a voluminous voice which she guides with consummate artistry. Sure: of herself, she committed no musical errors throughout the evening and sang true to pitch from beginning to end. Her organ is most pleasurable to the ear, especially in the low and medium register, as here and there in the upper a tendency to force the tones makes some of them blurred. Mme. Kottlar is a fine artist, often great, both as to voice and action, and she is a most valuable acquisition to the Chicago company. The huge success, that at times took the form of long ovations, can unmistakably be taken as the sincere mark of approbation of a very critical but enthusiastic audience.
Richard Schubert, who made his debut with this company as Tannhäuser, is a much bigger artist than reported in these columns, for, though his Tannhäuser is weak, he surprised at least one auditor with the virility with which he sang the heavy role of Tristan. Mr. Schubert is a tenor to be reckoned with from now on, as his singing revealed true musicianship, unsuspected tonal beauty and endurance that made his third act even more forceful than the first. Mr. Schubert once in a while sinned aganst true pitch, but his utterances, especially in the love scene of the second act and in the death scene of the last, made his performance well worth while. Histrionically his Tristan would be hard to surpass, as it is conceived on most artistic and well built lines. His success was most pronounced and rightly so.
William Beck, who, for some unknown reason this season, has not been heard often in parts worthy of his talent, was very effective as Kurvenal, investing the role with great nobility of tone and dignified presentation. If “The Meistersingers” should be given next season, he could well be entrusted with the difficult role of Beckmesser, which, if memory serves right, he sang under the baton of Nikisch at the Royal Theatre of Budapest. Eleanor Reynolds did the best work of her initial season with this company as Brangaene. From every angle her Brangaene is a potent factor in the drama, as vocally she satisfied every demand and by her acting made her devotion to Isolde an object of sympathy. Miss Reynolds easily shared with her colleagues in the success of the night. Edward Lankow made his debut as King Mark. Octave Dua was the Shepherd and Desire Defrere the Melot.
The stage management, as conceived by Jacques Coini, was effective, even though the scene of the second act was somewhat spoiled for the eye by the use of too much foliage that contributed in making the perspective less impos-
IVOGUN MAKES HER CHICAGO BOW
IN FINE PERFORMANCE OF “THE BARBER”
Her Operatic Debut Proves a Real Triumph—Garden in “Pelieas et Melisande” and “Thais”—Houses Sold Out for Galli-Curci—Muratore Given an Ovation After His Fine Presentation of Canio in “Pagliacci”—Martin a Versatile Artist—Beatrice Kottlar a Delightful Surprise in “Tristan”—Schipa and Dux Also Favorites—Polacco Wins New Laurels
“Carmen,” was jusf as unsuccessful in giving pleasure to this reporter as at the time of her debut. This opinion, however, was not partaken by a great majority of the audience, who applauded her vociferously; nor by other critics, pho praised her to the skies. As it has often been stated, personal opinions differ; thus, to this reporter Miss Mc-Cormic’s appearance at the Auditorium this season will always remain a puzzle. Miss McCormic impressed as being totally unprepared; she forgot her lines, made many musical errors and kept Conductor Ferrari busy trying to catch up with her whenever she skipped a bar or two, and the “Waltz Song’’ was nothing else but a steeplechase as she sang it. Besides those mistakes she also sinned against true pitch, and histrionically she left much to be desired. Certainly it was not Jacques Coin¡ who told Miss McCormic to sing the “Waltz” standing close to the table at which were seated Mimi, Rodolfo and his friends, the Bohemians; nor was it Trevisan, her teacher, who prompted her as best he could, who told her to do many things so in-artistically as to reveal at once an amateur. Miss McCormic is beautiful to gaze at and her voice is a remarkable one, but she impresses as being unmusical and that lack of musicianship will, no doubt, be a big obstacle in her road to success. Beating time with her foot and hands to keep with Ferrari was another mistake, which, like the others, is here mentioned with one hope—that of hearing Miss McCormic in a few years minus the many blemishes now so apparent and still the possessor of that voice, which today is the envy of many more successful singers. A year or so of retirement and serious work under the same tutelage as she is at present would do this soprano much good, and this, added to further stage experience in a smaller company, would make her return among operatic stars most welcome by all those who have at heart her future success, among whom may be counted this reporter.
With those two exceptions, the balance of the cast was the same as at previous performances when the opera had a smoother sailing than it had on this occasion.
“Thais,” January 10.
With Mary Garden in another one of her best roles, “Thais” held the boards for the last time this season. In glorious form, she gave the same imperishable delineation of the part to which here and there she has added a happy new touch, making her performance of today a matter for great rejoicing. The star was superbly supported by Edouard Cotreuil, who was even more perfect as Athanael at this second hearing than when, due to the illness of Du-franne, he luckily fell incumbent to a role more suited to his vocal equipment today than to the former interpreter of the role. The distinguished French basso was feted to the echo and those marks of approbation showed the intelligence of the audience in discerning his merits. The balance of the cast was identically the same as the one heard previously.
“Lakme,” January 11.
Galli-Curci’s guest performances have introduced her in several old favorite roles and in several of the more recent additions to her large and well chosen repertory. This season her versatility has been even better demonstrated than in previous years, as there is a wide span between "Madame Butterfly” and “Lucia,” between “Lakme” and Gilda,” as there is between Rosina and Mimi. Delibes’ opera is one of great melody and which, when rendered as it was on this occasion, charms the ear. Mme. Galli-Curci has been heard in previous seasons in the same part, but it is doubtful if she ever has sung the last two acts as well as on this occasion. It has often been noticed that the first act of many operas is her worst. This is probably due to the fact that like the great artist that she is, when appearing in a new role she finds herself unconsciously nervous and then her voice has not the warmth or the security noticeable later on. Although weak in the first act, she surpassed herself in the two others, not only in the “Bell Song,” which she sang superbly and which at its conclusion was applauded so frantically by the audience as to demand a repetition, which, according to the established rule of the house, was not granted. As in every role, her acting was superb and added in making her performance a memorable one.
Tito Schipa likes the role of Gerald and he is right, as it
“Tannhäuser,” January 7 (Evening).
Chicago, 111., January 14, 1922.—The eighth week of the operatic season came to a happy end with another performance of “Tannhäuser,” given at popular prices with the same cast heard at previous performances.
“Pelleas et Melisande,” January 8.
I he semi-final week of the present operatic season of the Chicago Opera Association at the Auditorium was auspiciously opened with a remarkable performance of Debussy’s Pelleas et Melisande,” given at a special extra matinee on Sunday afternoon. Mary Garden, who has presented the part for many years past, demonstrated anew her admirable Conception of the role which she has made her own in this country and which is as remarkable a portrayal as her Salome or her Jean in "Lc Jongleur.” As has often been said and written, Garden is unique—a big personality in the musical firmament. If it were the first time she had sung the role, many lines would be used to inform those who were not on hand_ how she sang, but as she has won in the part the encomiums of the leading critics of this country and France, little that might be added here could bring fresh lustre to this famous artist; thus saying that she was at her best, both from the vocal and histrionical points of view, suffices to convince her admirers that her performance was exceptionally good and to inform her detractors that her performance was unsurpassable. Garden is an ideal artist in the three above named operas, to which might be added “Louise,” a part in which she will be heard also but once this season.
“Pelleas” is a very difficult opera to present, as among other things it requires Debussy specialists to give it with all the mysticism demanded by the composer. In Alfred Maguenat is found just such an interpreter, his Pelleas ranking with the Melisande of Garden. They form a parallel team, the harmonious work of which blends in giving the opera its airy atmosphere. If the two principal roles were well taken, the same also can be said of all the interpretations. The Golaud of Hector Dufranne is beyond criticism, as it is wonderfully conceived and as remarkably interpreted. As Arkel, Edouard Cotreuil was magnificent as to tone and action. To Genevieve, Maria Claessens gave the same prominence as was the case when Gerville-Reache sang it. As little Ynold, Melba Goodman was satisfactory.
One would not have to meditate to rhapsodize over Giorgio Polacco’s unforgettable reading of the score. All the phrases were brought out beautifully under his masterly baton, and a great part of the afternoon’s enjoyment was due to his splendid leadership.
“La Boheme,” January 9.
Whenever Galli-Curci is billed the sold-out sign is always displayed in front of the Auditorium. Though Galli-Curci s vogue is not as yet understandable to some members of the musical fraternity, all doubt as to her merits would have been forever dispelled had they been on hand when she appeared as Mimi. Galli-Curci’s fame is not due to any high tones, nor any remarkable trills, nor to acrobatic vocal feats, but to a splendid amalgamation of her many virtues, the most conspicuous being her well balanced head. When one thinks of brainy singers, the list must contain among the very first the name of this more-and-more popular artist, who never tries her good fortune through sheer luck, but only through much work and careful preparation. Her Mimi is an adorable creature—one for whom you sympathize as Galli-Curci in it appeals to your heart, not only through the medium of the ear, but also through the eye. She costumes the role as it should be, and plays it with much sincerity and contrast. Vocally, she was excellent and no more need be added, as, at her best, Galli-Curci is supreme.
Mary McCormic, heard this season only as Micaela in
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