January 19, 1922
MUSICAL COURIER
52
OPINIONS OF THE PRESS
fore proceeding with the other numbers of the group. His encore numbers were chosen to afford contrast with those of the program proper, and included the following: “Sweet Little Woman of Mine,” Bartlett; “Ma Little Banjo,” Dichmont; “Her Dream,” Waller; “The Lilac Tree,” Gartlan; “Where My Caravan Has Rested,” Lohr; recitative and aria, “Ye People Rend Your Hearts,” and “If With All Your Hearts,” from the “Elijah.”
Prefacing his group of Negro Spirituals, Mr. Hamilton said that he had heard these all his life, for he comes from the southland, and he sought to put into them the religious fervor of their dusky originators. As he said, they are spontaneous; the religious zealot gets the inspiration for the song, and “then goes to it.” The group proved one of the most popular features of the program.
A Tenor, Baritone and Bass Rolled in One
Fred Patton, that sterling young American baritone, appeared as soloist with the Ottawa Symphony Orchestra on December 13 and 14, and, as is usual with him, scored a brilliant success both with his audiences and with the critics. Accompanying are some examples of the manner in which the press registered his triumph:
In speaking of Mr. Patton and his glorious performance, one feels compelled to quote a recent remark made of him by a musician who heard him in Washington with the New York Symphony Orchestra:	“It was glorious—there is no other way to describe it.”
And that is exactly how the audience felt last night.—Ottawa Morning Journal, December 14.
Big things were anticipated, and his work as demonstrated last night did not disappoint these anticipations. Mr. Patton is the possessor of a fine voice of wide range over which he has absolute command. . . . There were times when he produced a rich bass quality of tone, and again at other times there was a sensation of tenor quality. He proved one of the most, satisfying singers heard here in some time. His diction and enunciation were exemplary, in fact his whole vocal display was excellent. Mr. Patton is sure of a good welcome should he return to Ottawa.—Ottawa Morning Citizen, December 14.
Mr. Patton was applauded to the echo at the close of his numbers, scoring a triumph in his spirited rendering of the Prologue.— Ottawa Evening Journal. --------------
Of all the singers who have assisted at the Ottawa Symphony Orchestra concerts, possibly the most immediately popular is Fred Patton, who sang at the last concert.. Several conditions contributed to his ample success. In the first place, his voice is quite phenomenal, being as it were something of a tenor, baritone _ and bass rolled in one, not three voices, not a trinity, but־ a unity—homogeneous from foot to crown. His voice is exceptional in quality, but his compass is possibly more exceptional, being three full octaves. Secondly, he has remarkable powers of interpretation, being equally at home in the Prologue from “Pagliacci,” as in the negro spirituals. The latter he sings as if to the manner born. Thirdly, his stage deportment is such a sane mixture of dignity and sociability that he is en rapport with his audience even before he has opened his mouth to sing.—Dr. Herbert Sanders, F. R. C. O'., in the Ottawa Morning Journal.
Beale a Winning Micaela, Say Critics
Kitty Beale, coloratura soprano, appeared recently in recital in Rochester, N. Y., with Giovanni Martinelli, tenor, and that the young singer from the Metropolitan Opera made an excellent impression is proven in the appended extracts culled from two of the Rochester papers :
Hers is a voice of true coloratura range and in the singing of fragile lyrics she gave much pleasure, to which her youth, grace and fresh beauty added a modicum of interest. . . . Her voice rang true and clear in the flute-like passages. In her first song group “Impression” by Sibella was perhaps the most successful, and she was at her best in the English group, which ended with Farley’s dainty “The Night Wind.”
. . . In the duet from the first act of “Carmen,” Miss Beale held up her part admirably. She would evidently make a winning Micaela.—Rochester Herald.
Miss Beale’s beauty almost took one’s breath away. She was a vivid picture as she came upon the stage to sing the difficult “Charmant Oiseau” from David’s “Le Perle du Bresil.”
. . . she sang with exquisite beauty, when her tones were clear as crystal and luscious as rare wine. # Of course, one must admit that her voice is small. She paints miniatures, very lovely ones sometimes, but they are always miniatures that make one lonely. Miss Beale can create an atmosphere of pathos better than anyone we have ever heard. ...
Miss Beale, by the way, would make an appealing Miceala to whose lot the duet falls in the opera and the number was an interesting finale for an extraordinarily good concert.—Rochester Democrat and Chronicle.____________________
Tamaki Miura Rejoins San Carlo Opera
Tamaki Miura, who will have about fifteen guest performances in “Madame Butterfly” with the San Carlo Opera Company, opened with that organization in Denver, Colo., on January S. The little Japanese prima donna has (Continued on page SS)
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Werrenrath Thrills Detroit Audience
Reinald Werrenrath gave a concert recently in Detroit, Mich., and the following day the Detroit Journal commented as follows :
As it only takes one bite of an egg to tell whether it is good, bad or indifferent, so after the first phrase of Leoncavello’s Prologue from “Pagliacci,” the audience knew that Mr. Werrenrath was in excellent voice, and settled back to enjoy him. His virtues of sonorous and flexible enunciation are too widely known to need־ comment.
The Detroit Evening Times says:
Werrenrath’s manly and engaging presence is undeniably a very real asset on the concert platform. He has that excellent merit of clear enunciation on the right side of his account.
The Detroit Free Press had this to say:
Mr. Werrenrath, always the forceful singer, has returned with a finished, ripened art that fairly thrills an audience. His tone is deepened and the smoothness and vocal opulence with which he colors and emphasizes a phrase give a realistic touch that few singers can command. Who will forget his reading of Frank Bridge’s “Love Went a־Riding”? With the slightest modulation, a mere care in inflection, he conveys a whole world of meaning. His feeling for rhythm is a delight.
Havens Stirs Chicago Critics’ Admiration
Raymond Havens, American pianist, added another to his long list of successes at his Chicago recital Sunday afternoon, December 11, at Cohan’s Grand Opera House. ^ The following reviews, reprinted in full, will provide a significant commentary on Mr. Havens’ abilities as pianist, interpreter and artist :
Luckily for me, Mr. Havens so pleased his audience yesterday that he was obliged to add encores to the end of the program, otherwise despite my careful calculations I should have missed out. He played with a clear tone and clean technic of the sort which brings every phrase out with such distinctness as made a slip
RAYMOND HAVENS.
most apparent, and there were one or two. Some men have a free and easy way about them, in which a wrong note becomes a !natter of no importance whatsoever. Mr. Havens is not of these. He is a clear thinker who understands the music and works־ over it for the love of it, polishing the phrases until every detail is adjusted to the whole and all knit together. It was excellent playing, sympathetic, understanding and refreshingly sane. _ The audience made him add a number of encores at the conclusion of the regular program, so that I had a most satisfactory concert after all.—Chicago Evening Post.
Raymond Havens, pianist, made his first Chicago appearance at the Grand Opera House. He began his program with a pair of attractive sixteenth century dances, _ made more attractive in a piano arrangement by Ottorino Respighi. These sounded as though he had the right kind of brains for insight into music and the right kind of fingers to give it expression. The next time he comes here I hope to hear him more at length.—Chicago Tribune.
At Cohan’s Grand Opera House was Raymond Havens, pianist, from Boston, who began his recital with two antique dances from the sixteenth century, arranged and modernized by Ottorino Respighi. He showed in their performance an elegance of taste, clarity of technic and musical style. Mr. Havens also had on his program a suite by Bach, the Schumann Carnival, some compositions by Chopin and two transcriptions by Liszt.—Chicago Daily News.
At Cohan’s Grand Opera House, I heard the pianist Raymond Havens, another example of very fine American talent. Mr. Havens brought all the necessary qualities of refinement and delicacy of touch and a lovely, pure tone to the interpretation of two antique dances of the sixteenth century arranged by Respighi.— Chicago Evening American.
Hamilton Gives South Haven “A Great Treat”
After the recital which James Hamilton, the well known Chicago tenor, gave in South Haven, Mich., recently, the Daily Tribune critic wrote in the following glowing terms :
James Hamilton, tenor, gave the Civic Entertainment Course a flying start with his recital Thursday evening. Possessor of everything needed for the demands of a varied program, Mr. Hamilton gave his hearers a great treat, and they, in turn, were spontaneous and generous in their expressions of appreciation.
Mr. Hamilton included in his program songs of all degrees from the so-called simple ones, which require an artist of his calibre for proper interpretation, to two of the more exacting operatic arias. These latter were the only ones not sung in English, but his interpretation and personality made their import plain even if sung in an unfamiliar tongue.
Perhaps none of his vocal gifts meant more to his audience than his very distinct enunciation, so that every word reached his hearers as if spoken. Further equipped with a voice of beautiful quality whether in the heavier, medium or lighter passages, resonant and warm, and with the fruits of years of intensive study, plus a genial personality that made him a friend of seeming long standing at sight, he lacked nothing needed to win and hold his hearers and make them glad so fine an artist had been brought to their city.
Mr. Hamilton not only offered a generous program but also was liberal in granting encores. One song, “The Blind Ploughman,’ evoked such a volley of applause that he graciously repeated it be-
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PRESENT FOR SEASON 1921-22
Ellen Beach Yaw, coloratura soprano; Hermina West, dramatic soprano; Lydia Lyndgren, dramatic soprano; Franklin Cannon, the distinguished pianist; Ann Thompson and Earl Meeker, pianist and baritone, in joint recitals; Marguenta Sylva, mezzo soprano; Antonio Rocca, dramatic tenor; Georgiella Lay, pianist, interpretative programs; André Polah, Belgian violinist; Mrs. George Lee Bready, in opera recitals; Jessie Masters^ All-American contralto; Leila Topping, pianist and Vladimir Dubinsky, cellist in joint recitals.