NEW YORK, THURSDAY, January 26, 1922.
jV\USICAL(OURIER
VOL. LXXXIV—No. 4. Whole No. 2181.
CHICAGO OPERA OPENS ITS NEW YORK SEASON
WITH BRILLIANT PERFORMANCE OF “SAMSON”
Huge Audience, a Bit Skeptical as to Changes on Account of Advance Press Stories, Is Treated to a Beautiful Presentation of the Saint-Saëns Work Fully Up to, if Not Surpassing, All Previous Efforts of the Windy City Organization— Polacco Loudly Applauded—Muratore Also Appears and Scores a Great Triumph as the Samson— D’Alvarez Shares Fully in the Honors of the Evening as Delilah—The Chorus Work Especially Notable—Balance of Cast Most Satisfying and Ballet and Stage Settings All Receive Words of Commendation—Mary Garden Looks on and Applauds
son than the captivating Mary Garden. Muratore lsliving up to his present contract, which Mary Garden admits she never saw. As it had been accepted unconditionally by Herbert M. Johnson, Miss Garden simply wrote the tenor a letter stating that his former contract would be continued except that the salary would jump from $2,250 to $2,800. Miss Garden also wrote in the same letter, which took the place of a contract, that Mr. Muratore would have to sing (Continued on page 58)
“SNEGOUROTCHKA” PREMIERE REVEALS ENGAGING MUSIC AND PRETTY PICTORIALISM
Rimsky-Korsakoff’s Opera Is Not as Piquant or Important as “Coq d’Or”—Bori and Harrold Sing the Leading Roles—Lovely Scenery Is Disclosed
Before “Coq d’Or” and “Scheherazade” came to this country, Rimsky-Korsakoff was known here chiefly through one or two orchestral works that found a place on symphony programs, and his fame as an opera composer, so far as America was concerned, rested on stories that came from Russia regarding the popularity of his works there. Time and again his compatriots in New York, and several of the critics here, called upon the Metropolitan to produce a Rimsky-Korsakoff opera or two there, but the entreaties were in vain for some reason or other. Finally the Ballet Russe came into favor in London and Paris, and then (as a natural result) in our land, and through them we became acquainted not with a Rimsky-Korsakoff opera, but with his orchestral “Scheherazade” suite set to pantomimic action as a ballet. The piece made a sensational success. Rimsky-Korsakoff’s name was on every tongue and the first decided interest began to be manifested by Americans in the possibilities of his operas. Again Paris took the initiative and again poor Rimsky was made the victim of a garbled art production, his “Coq d’Or” being given as a sort of ballet, with singers, off stage practically, vocalizing synchro-nogically with the action of the pan-tomimists. As in the case of “Scheherazade,” the “Coq d’Or” melange made a tremendous hit. Undoubtedly the melodic, harmonic, and orchestral beauties of that ravishing score made the Metropolitan Opera management resolve to delve further into the Rimsky-Korsakoff operatic treasure chest. The result was that “Snegourotchka” came forth as the first of the trophies, and it was presented to New York last Monday evening before a vast audience whose size was significant in view of, the counter attraction at the Manhatan Opera.
The Story of "Snegourotchka.”
After the racy and cynical subjects treated in “Coq d’Or” and “Scheherazade,” the simplicity and almost childishness of the “Snegourotchka” story comes as a great surprise. It is a fairy tale with no particular point or dramatic logic, and it runs like this : Snegourotchka is the - daughter of the Fairy Spring and Old Man Winter. Abandoned in the woods, she is discovered by some villagers and adopted by the old village drunkard, Bobyl and his wife, Bobylica, who have no idea of her origin. A rich merchant, Mizguir, falls in love with her and neglects his fiancée, Koupava. But Snegourotchka’s heart is cold and repels all advances. Lei, the shepherd (who is the child of the Sun-God), alone seems to interest her. His songs move her, yet not enough to awaken a real emotion of love. So Lei, discouraged, offers himself to Koupava. The latter, however, grieved by the desertion of Mizguir, appeals to the wise old Czar. He calls his people together to express his sorrow that so much unhappiness should be abroad in his land, for Snegourotchka, unwittingly, has been the cause of no end of lovers’ quarrels. Seeing Snegourotchka, the Czar himself is charmed by her innocence and beauty, though pained by her coldness. Maybe the Sun-God has been offended and must be appeased, otherwise he will show his displeasure by refusing a fruitful season and abundant (Continued, on page 28)
Arthur Nikisch Dies Suddenly
Just as the Musical Courier goes to press news comes from Leipsic by cable of the sudden death at his home there of Arthur Nikisch, famous conductor, The news was sent to Erich Simon, head of the Wolff Bureau, at present in New York, and came direct from the Nikisch family. Another cable, similar in content, was received by Milton Diamond, head of the International Concert Direction, Inc., thus confirming the report.
son. These great moments of the opera were sung and acted by both D’Alvarez and Muratore with a moving intensity rarely heard or seen on the operatic stage in New York. With the curtain calls there came a double ovation, and justly so. It is to be hoped that Mme. D’Alvarez will be heard often with the company while in New York.
Interest also centered about the debut here of Paul Payan,
who was the old Hebrew. Vocally and otherwise it was entirely successful. Mr. Payan revealed a bass voice of excellent quality, rich and ringing, which he used with (Continued on page 28)
MURATORE OBJECTS TO
GARDEN AS DIRECTOR
Lucien Muratore, premier tenor of the Chicago Opera Association, when asked to return next season as a member of the Chicago Opera Association or Civic Opera Association of Chicago (as the present organization is to be called after May 1), informed an officer of the organization that he would be very happy to do so, provided Mary Garden were no longer retained as general director. In the other case, he would leave the company. This writer can vouch for those statements as well as for the fact that Mr. Muratore was asked to return by an authorized officer of the Chicago company. The interview took place in the tenor’s apartment in the Blackstone Hotel, at exactly four o’clock in the afternoon of Tuesday, January 17. Mr. Muratore has aired his grievances, which have been published in the dailies. Many editorials have also appeared in the foremost papers of the land, some siding with the tenor, others with Garden. All the Chicago papers greatly regret his decision. Mr. Muratore is not a child and he objects to being treated as such even when “mamma” is no less a per-
“Has there been any change in the opera tonight ?” “Who is conducting¡'” “Will Muratore appear?”
These questions and more were on the lips of many people as they hurried out;• of the cold night into the crowded lobby of the Manhattan Opera House for the opening of “Mary Garden’s company” in the metropolis on last Monday night. So far as any one knew, Polacco would wield his trusty baton, as scheduled, and the famous French tenor, who has occupied much space in the dailies recently, would be operatically beguiled by D’Alvarez’s Delilah. The black house cat eyen crept up from the cellar and almost tripped up Povla Frijsch and her party, one young member of which whispered as she hurried on:	“Is
luck?”
To get down to the actual performance—with the lighting of the footlights came rounds of applause and a “bravo” here and there. It meant Giorgio Polacco was in the orchestra pit ready to begin the short prelude.
And what a master of his forces he is 1 The orchestra showed the result of several months of drilling under a master hand. It was always admirably under control, ready to do the slightest bidding of the director, and its tone—especially that of the string body—was a vast improvement over anything that the Chicago Opera ever has brought here before.
The Square in Gaza was satisfactory to the eye, but utterly surprising, indeed, was the ensemble work of the chorus. The voices seemed to blend into one powerful voice that, if need be, could be quelled and diminished into the most delicate pianissimo.
With such support from the chorus and orchestra it is not surprising that the principal singers themselves contributed to what was unquestionably one of the best performances of the Saint-Saëns work, not excluding those at the Metropolitan, ever seen in New York.
“Samson and Delilah” was given a new lease of life at the latter house when it was revived for the immortal Enrico Caruso. His ever-to-be-re-membered impersonation of the strong man found great favor with the opera goers, and the critics called Samson among his best roles.
In commenting upon Luc.ien Mura-tore’s portrayal of this role there is no need for comparisons. Muratore is an artist who can stand upon his own artistic feet. It is but fair to judge him for himself. His Samson is a great one and will not be easily forgotten. Vocally Muratore seems to be even better than when he was here last season. All the opulence and rich beauty of voice demanded by the role were lent it by the French tenor—lent with dramatic fervor but without undue forcing and striving for exaggerated effects. His appeal was from the heart and therefore simple and telling. Histrionically Muratore was none the less impressive. The Israelite’s fight against Delilah’s snares and temptations, his consuming passion and fall, the ensuing self-admonishment and the return of his strength were all well done, adding to the forcefulness of his portrayal. In appearance he was decidedly the biblical hero. His reception was a vociferous one and included a generous contribution of applause from General Directress Mary Garden in her box.
With such a Samson it would have been a pity had the Delilah not been up to the mark. But she was. In Marguerite D’Alvarez, Muratore had a worthy co-star. In appearance she was voluptuous and beautiful, having lost much weight since last season, when she sang here in concert. Her costumes, in good taste and of clever lines, added to the delightful picture she made. If in the beginning she, because slightly nervous, slipped away from the pitch, the wholly beautiful singing she contributed from the second act on made up for that. With her pieces de resistance •—the “Spring” aria of the first act and “My Heart at Thy Sweet Voice”—she swept all before her. The superb quality of her voice was made more mellow and impressive by the depth of emotion that coursed through her singing. In her scene with the High Priest she was very dramatic, in contrast to the alluring tenderness of the love scene with Sam-
that good or bad g
PERCY GRAINGER,
composer-pianist, who recently gave a concert via wireless at the Westinghouse Radio Station, Newark, N. J. Reports coming from many other cities all state that his program xvas much enjoyed, the farthest point being Toronto, Canada, where the concert was heard perfectly. Mr. Grainger’s efforts, however, are by no means confined to “appearing” by wireless. He is even more in demand this season than ever before for personal appearances. On January 16 he played to a sold ,out house at Lancaster. Pa., and for his recital on January 30 at White Plains, N. Y., his home, not a seat was left only a few hours after the first announcement.
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