45
funny as could be as the Bull. As a matter of justice to all the others, their names should be herein mentioned, for the entire production, as presented by Pavley and Oukrainsky and their aides, was homogeneously on the same level of perfection with those entrusted with parts that made their places in the story more in evidence.
“The Barbee of Seville/’ January 14 (Evening).
Another trump card was dealt by the Chicago Opera when at the last but one. of its Saturday night popular priced series Mario Ivogiin made her first appearance on this continent as Rosina in “The Barber of Seville.” Ivo-giin is a winner, the audience at her initial appearance loved her and the succeeding ones probably will greet her with the same loud marks of approbation. The newcomer made a palpable hit, not solely through the sheer beauty of her voice, but also by her charming personality. Petite, young and modest, her Rosina is a pleasing characterization. Her voice is rather small, canary like, never forced, always true to pitch, well placed and used with artistry; it is an organ that charmed the ear of her first auditors at the Auditorium, where many Rosinas have sung and few only are remembered. Among the latter already may be surely named this new coloratura soprano. During the lesson scene Ivogiin sang Johann Strauss’ “Vienna Woods” and Dell Acqua’s “Villanelle,” and from the applause provoked it may be said that on the concert platform she will be even more successful than on the operatic stage. She sang each of these songs beautifully and her diction of the French text in “Villanelle” was as pure as her Italian. She is a big acquisition for our opera company. The young star was superbly supported by a star cast, including Tito Schipa, a master singer who is the Almaviva par excellence; Vittorio Trevisan, a king among the. Bartholos; Lazzari, one of the best Basilios seen or heard on this stage; Vincente Ballester, a splendid Figaro; Maria Claes-sens, a clever Bertha; Riccardo Alfieri, a well groomed Ambrosio; Lodovico Oliviero, a good voiced Fiorillo, and Sallustio Civai, a very fine Sergeant. Ferrari conducted with his customary efficiency and with chorus and orchestra up to the standard the performance was one of real enioyment.	Rene Devries.
Concerts for St. Cecilia Club
The St. Cecilia Club, Victor Harris, conductor, will give the first of this season’s concerts, for members, on the evening of Tuesday, January 24, in the balroom of the Waldorf-Astoria. The program is to include, as usual, a number of first performances, among them several compositions especially composed for the club. The assisting soloists will be Fred Patton, baritone, and George Barrere, flutist.
The second concert will take place on April S.
The St. Cecilia Club will also cooperate with the New York Philharmonic Society in four performances of the Mahler third symphony under the direction of Willem Mengelberg. The dates for these concerts are February 28, March 2, 3, and S.
Du Carp to Give Carnegie Hall Recital
On Wednesday afternoon, January 25, Marie Magdeleine Du Carp, pianist, assisted by the New York Philharmonic Orchestra, Joseph Stransky conducting, will give three concertos (Beethoven, Schumann and Pierne) at Carnegie Hall.
MUSICAL COURIER
splendid organ but also by her treatment of a role; other times she irritates your ear with tones that should not emanate from such a pure and clear organ. Then she walks on the stage as though appearing as^ a soubrette in a comic opera. This may be well liked in ^Germany, but not so in Chicago nor probably in other cities. Miss Dux has so many transcendent qualities in her make-up that it is a great pity that she errs here and there in making her presentations unequal. She ■also committed sins against true pitch—this was especially noticeable in the first act. The other roles were well handled and words of praise are due Cimini, who conducted especially well, even though here and there the time dragged and the intermezzo was not rendered exactly as it should have been.
Jacques Coini improved the mise en scene and this was especially noticeable in the scene before the theater, where his grouping of the chorus made the plot much more realistic than it has ever been presented here.
“Birthday of the Infanta.”
The production of “The Birthday of the Infanta,” as presented by Pavley and Oukrainsky and their ballet, was a distinct improvement and was hugely enjoyed by the audience. John Alden Carpenter’s music sounded also more exhilarating than heretofore.
This may have been due to the excellent command that Isaac Van Grove possessed of the delightful score. The musical values of "The Birthday of the Infanta” were extolled in this paper at the time of the work’s premiere; thus this review will deal solely with the manner in which it was presented on the stage and in the orchestra־ pit. This office of the Musical Courier glorifies in Isaac Van Grove’s big success and most auspicious debut as a conductor of one of the world’s greatest operatic companies. This rejoicing is doubly significant: In the first place. Van Grove is a product of Chicago, and secondly, this office is responsible for his connection with Mary Garden, who although obligated to this office in many ways, has often thanked us for putting Isaac Van Grove in her way. Van Grove made good, and this is clearly understandable, as he is a deep student, a hard worker, a learned musician and a sincere artist. Although very nervous, this apparent only by the rictus that changed his facial countenance, he directed with the surety of a routine conductor. Chicagoans are happy at his success, as Van Grove has many friends here who laud him for his unassuming and modest appearance of today as they laud him for his undaunted energy that finally vanquished obstacles that would have seemed unsurpassable to many other young men.
Pavley and Oukrainsky have all through the season presented ballets well worthy of lengthy reviews, but although as great an admirer as this reporter is of these two masters of the terpsichorean art, his own knowledge on that subject is so limited as to make necessary as short reviews as possible; this to hide his ignorance. In “The Birthday of the Infanta,” however, the presentation of Oukrainsky as Pedro, also the Dwarf and several ballerines is more pantomimic, thus facile to comprehend. As a mime Oukrainsky has few rivals. His gestures speak volumes and one understands him just as well as if he had spoken lines. He was, in his part, nigh perfect. Others well deserving words of praise were Ledonova and Romany, excellent as the governesses of the Infanta; Andreas Pavley, as the Gypsy Leader; Ester, as the juggler, and Petri, as the tightrope walker; Carroll, as the Picador, and Caton, as the Matador, likewise were excellent, and Bublitz was as
January 19, 1922
ing and reminded one of a jungle or a dense forest instead of a corner in a royal park.
The performance of “Tristan and Isolde” was made one of the most interesting of the present season by the masterly reading given the score by Giorgio Polacco, a giant of the baton—now poetic and romantic, and now virile and heroic. Better than any other Italian conductor since Toscanini he brought out all the beauties of this remarkable score, which abounds in immortal melodies. Polacco’s absolute command of the score made one absorb even tedious passages, which he accelerated willingly and even advantageously. After each act he and his men were acclaimed and his triumph was a just tribute to a genial conductor, who, let us hope, will be seen for many years at the same post, as his achievements this season have not only added luster to his own career, but also have reflected brilliantly on the Garden régime. If the admiration oi this reporter for the manner in which Polacco conducted "Tristan” would be here printed, all the vocabulary of a Webster would hardly suffice, as his conducting of this work entitles him to all the superlatives entitled to a superman.
“Pagliacci” and Ballet, January 14 (Matinee).
The first and lone performance of “Pagliacci” was sung with a star cast, including Lucien Muratore as Canio, Joseph Schwarz as Tonio, Claire Dux as Nedda, Desire De-frere as Silvio and Lodovico Oliviero as Beppo. “Muratore the Great,” as he is called in Chicago, was at his very best and by his singing awoke the enthusiasm of the regular Saturday matinee aristocratic and generally blasé audience, composed mostly of the gentle sex. Muratore is a fine artist, and this means much in these days when many operatic singers resort to tricks in. order to obtain big effects and to produce an impression on a young and learning public. Muratore is sterling through and through. He always gives of his best; otherwise he prefers to lose a cachet, preferring to disappoint his audience by his non-appearance than by his voice. Thus his forced rest of a few days brought his voice in all its glory to the great satisfaction of his innumerable admirers. Not _ only did he sing “The Lament” remarkably well and bring down the house after it, but also throughout the opera he sang superbly and dazzled with his golden tones, which poured out whenever he sang. An actor of the first caliber, he rose to great dramatic and even tragic heights in the final episode, where by his actions he excited the pulse and brought to a happy conclusion Leoncavallo s most efficacious and popular work.
Joseph Schwarz, as already proclaimed here and elsewhere, is a truly remarkable artist. His voice may not be one of the best heard as Tonio,, but he knows how to use it, to color it, to bring out his own exacting demands. Sçhwarz is an originator, a student ; he dissects a role and finds in it possibilities that have remained hidden from other interpreters. His Tonio is no exception. He dresses it, acts it differently and though following minutely the music as written, his delivery is somewhat original. Schwarz is a big figure in the operatic; world. One may or may not like him, but he is always interesting, clever and artistic to his finger tips. His Tonio elevated him one more notch in the estimation of the public.
Claire Dux as Nedda had splendid moments and others less praiseworthy. On the concert platform this new recruit and importation gives always entire satisfaction and the same should happen when she sings in opera. At times she delights you, not only by the beauty of her
EFFA ELLIS PERFIELD DIRECTORY OF TEACHERS
MUSIC COURSES
DICTATION ........................................Inner Ear, Eye and Touch Feeling
SCALES...................................................................Ten Kinds
IMPROVISING...............................................Constructive, then Creative
MODULATION...................................No Patterns, only Constructive Material
PEDAGOGY...............Inner Feeling, Constructive Reasoning and Self Expression Drills
Phone: Bryant 7233
SIGHT READING.........................................Harmonic and Melodic
SIGHT SINGING............*. 1״Harmonization
{aL cavpo ........... ............................Musical Memory, Repertoire
Shvthm .................... ........................Groups, Repetition, Pause
harmony::::::::::::::::::::::::.................................. T“*ib1'
By EFFA. ELLIS PERFIELD, 41% West 45№ Street, New York City
MISSOURI
FLORENCE E. HAMMON State Normal Teacher Private Lessons and Graded Class Work Seven Assistants
Musical Art Bldg.	St. Louis
NORTH CAROLINA
IRENE WEAVER Piano and С1ам Work
Normal Teacher	Franklin
TEXAS	
NELLIE HALL	
Friburg Apt., No. 2,	Abilene
FOREIGN	
AUSTRALIA	
CLAUDE KINGSTON	
Organist, Collins Street Baptist	Church
70 Park St.,	Melbourne
CANADA
CARA FARMER
Piano and Class Lessons, Demonstrations Certified Normal Teacher Mothers* Creative Music Course 750 Bathurst,	Toronto
CHINA
EMIL DANENBERC Pianoforte Instruction Pupil of Teichmuller (Leipzig)
The Albany,	Hong Kong
INDIA
MRS. MARK ELDREDCX
ALICE M. SPAULDING
Piano, Coaching and Accompanying Scientific Muscular Pianoforte Technic Individual and Class—All Ages 234 West 74th St., N. Y. Phone: 9284 Col.
MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W.,	Brooklyn
Phone: South 3688 J.
NEW JERSEY
ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford
GEORGIA
MARTHA E. SMITH
Class and Piano Lessons—Normal Teacher Demonstrations
11 Druid Place,	Atlanta
ILLINOIS
FELICIA TURNER
Examining Normal Teacher (One of Two in the U. S.)
218 S. Wabash Ave.,	Chicago
Yazoo City
MISSISSIPPI
OLIVE BEAMON Piano InstructioB Normal Teacher 221 E. Madison Street,
NELL E. HANKS
Accompanist and Piano Instruction Pupil of Heinrich Gebhardt 274 West 71st St., N. Y. Phone : 10028 Col.
DOROTHY LOU IRVING
Councillor for Mach-a-Wa-Mach Camp 323 W. 83rd St., N. Y. Phone: Schuyler 943
RUTH JULIAN KENNARD Piano and Class Lessons 609 West 115th St., N. Y.
Phone : Morn. 5530
WINIFRED KENNER 287 МШ Street
Poughkeepsie, N. Y.
IDIS LAZAR
Concert Pianist and Teacher 50 Morningside Drive, Apt. 42, New York Phone 7770 Cathedral
GLADYS MURGATROID Piano and Class Work S61 Sterling Place, Brooklyn Phone : Prospect 5542
ELSA K. PETERSON Kirpal-Lindorff School of Music 140 Barclay St., Flushing, L.I. Phone: 1887 M.
MARIE A. PLATE
425 West 21st Street,	New York City
Telephone Watkins 7265 222 Robert« Ave.,	Yonkers, N. Y.
NEW YORK
C. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone : Kenmore 1297
MRS. R. F. BEARDSLEY Piano and Class Work Pupil of Xaver Scharwenka ЗЗГ West 85th St.,	New York
Phone : 8265 Schuyler
EMMA BECK Piano and Harmony
Individual and Class Lessons. Interviews 124 W. 12th St., N. Y. Phone: 3715 Chelsea
RUTH CARLMARK Accompanist and Piano Instruction Pupil of La Forge-Berumen Studio 836 Washington Ave.,	Brooklyn
MRS. M. L. FISH Piano Instruction and Class Work Box 523 Mt. Kisco	Phone: 386
OLGA FISHER Piano and Class Work 93 Junction Ave.,	Corona,
Phone: Newtown 4158
HELEN PARKER FORD Organist and Coach—Piano Instruction 106 So. Broadway,	White Plains
Phone: 1231