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January 26, 1922
next Monday, it was beyond his energy to conduct both afternoon and evening bills, and, as before stated, to this must be attributed his absence from the conductor’s desk when “Louise” was presented. With only a few days’ notice, Grovlez did well with the score and the management should be thankful for his efforts.
Mary Garden counts Louise one of her best roles,_ but she was badly handicapped with a heavy cold and sniffled all through the performance. Ulysses Lappas, who made a very successful debut as Dick Johnson in the Girl of the Golden West,” did not seem at ease when singing the French language, and both histrionically and vocally he left much to be desired. Mr. Lappas is a young man who possesses a voice which in the upper region is beautiful; his high B flats are round, big and easily produced, but the medium is a little weak; and his Julien not on par with his Dick. Mr. Lappas, so we are informed, had only a few days to prepare this trying role, and this should atone much for his work. The role of the father, for the first time since the inception of the Chicago Opera Association, was entrusted to some one else than Hector Dufranne, who, though still a member of the company, was substituted by Georges Baklanoff. Mr. Baklanoff’s make-up was excellent, but his “Father” is not the typical French laborer that the Chicago public has been made to love as represented by Dufranne. Mr. Baklanoff, however, is a sterling artist who knows his business, and he brought to the role several excellent new ideas, and vocally he was up to standard, i he other roles were well performed, even though throughout the opera lack of preparation was manifested in mapy shortcomings that made the last but one performance of the season probably the only black spot among this seasons productions.
“Tristan and Isolde,” January 21 (Evening).
The 1921-22 operatic season closed with a repetition of “Tristan and Isolde,” given at popular prices with the same cast that had been heard previously at full tariff.
Rene Devries.
MUSICAL COURIER
CHICAGO OPERA STARS GET OVATIONS AS
COMPANY BIDS ADIEU TO WINDY CITY
Garden, Muratore and Polaoeo the Center of Attraction as Final Curtain Is Rung Down on the Old Organization-
Capacity Audiences a Feature of Entire Week
Dilling’s Conquest of the Harp Complete
“No word of praise could add to the warmth of Pittsburgh’s friendship for Miss Dilling. Of charming personality, her conquest of that sweetest of all musical instruments is complete.” Thus wrote the music critic of the Pittsburgh Dispatch after Mildred Dilling’s recent appearance there in concert. And the other reviews in the newspapers were just as enthusiastic in commenting on the very artistic work of the noted harpist.
Some of Arthur Hackett’s January Dates
Arthur Hackett was the tenor soloist at the performance of “The Messiah,” given at Mankato, Minn., January 18. He appeared in recital in Providence, R. I., January 21 and in Boston the following day. From Boston he went to Pittsburgh, where on January 24 he was to sing lor the benefit of the Columbia Hospital of that city.
Mary Cavan Sings American Songs in Prague
The John Church Company recently received word from Mary Cavan and Otakar Marak, that at a concert given on December 1 in Prague by the two artists, who are well known in America, the former sang with success two songs by American composers and published by the John Church Company. These were Mana-Zuccas Invocation and Charles Gilbert Spross’ “Will o’ the Wisp.
More Engagements for Schumann-Heink
By a rearrangement of plans that will change her present solidly booked itinerary, Ernestine Schumann-Hemk wi 1 sing in Louisville, Ky., and Indianapolis, Ind, on March 13 and 19. From recent newspaper notices it is shown conclusively again that the amazing popularity of the famous contralto is ever on the increase, as her crowded houses attest.
Saul Roselle Soloist at Astor
At the Hotel Astor, on Monday afternoon January 16, Saul Roselle, a baritone pupil of Mrs. W. E. Bacheller delighted a good sized audience, and will surely reach a high standard in his singing, as his baritone voice is mellow, sonorous and flexible.
Pattiera for Lynchburg
Tino Pattiera, tenor of the Chicago Opera Association, has been engaged for a recital in Lynchburg, Va., February 20.
here, and as “The Girl” is scheduled for Wednesday, January 25, in New York at the Manhattan, the writer will not dwell further on Mme. Raisa’s work here, but let it be said that her farewell performance for the present season will live long in the memory of all those lucky auditors who heard this superb artist at her very best. Raisa once more sang herself into the hearts of the Chicago public, which considers her one of its own and which will wait impatiently for her return on the same stage next season.
Giacomo Rimini was a pillar of strength as Jack Ranсe • a role, by the way, which he created at his first performance in Italy; thus, his ideas as to the part are the accepted ones. His Sheriff has allure, even though it has its repulsive side, which makes his declaration of love for Minnie and the latter’s refusal quite understandable. He depicted most successfully his passion for the girl and his hatred for his rival, and the gambling instinct of the man as well as his sense of honor were also brought out so dearly as to make the story most comprehensible. Rimini this season _ has achieved fame both as an actor and as a singer, and this is the just reward of his indefatigable efforts, unabating will and desire for improvement. He, too, will surely come back next season, to the general satisfaction of all.
The cast, which was a long one, was, without exception, meritorious. Well remembered for efficiency were the Castro of Nicolay, Harry of Dua, Joe of Rocca, Civai’s Bello, Mojica’s Trin, Lazzari’s Ashby, the superb smgmg of Paul Payan as the minstrel, Wallace, the well thought out characterization of an Indian by Edouard Cotreuil, and the good singing of his squaw by Irene Pavloska.
The orchestra revealed itself the virtuoso instrument that it is, as handled by Giorgio Polacco, whose achievements this season have been so numerous that the management should extend him a vote of thanks for having presented . performances homogeneously good and also for having saved the same management thousands of dollars by affronting the public with less rehearsals than is generally customary at the Auditorium and always demanded from other conductors in other opera houses. Polacco has been one of the big factors in making the present season so brilliant, and some day the story of his seemingly unappreciated efforts on the part of the management will come out to the great surprise of the public and even of the personnel of the Chicago Opera Association, all of whom love him as the great artist that he is and as a friend whose loss would be keenly felt by all those who have been in contact with this genial musical director.
“La Traviata,” January 20.
Amelita Galli-Curci made her last appearance here this season as Violetta in “Traviata.” The Auditorium could have accommodated three times the number of patrons had the seating capacity made it possible, as hundreds were turned away from the box office and speculators were unable to accommodate many of their regular customers. All through the last week of the season the sold-out sign was posted and many believe that the season, could have continued here for another five weeks to packed houses. This, however, is problematic, but that conjecture was voiced on every side and is reported here solely as a favorable omen for next season.	,
Tito Schipa, called the “king of the lyric tenors and “the prince of the recitalists,” sang as an Emperor the role of Germont, Jr. Joseph Schwarz was again thenoble father to which he has accustomed us. Constantin Nicolay, the best of “Doctors” of the company, was again an effective physician, but his repeated efforts were not sufficient to save the life of the tubercular Violetta. Ferrari conducted.
“Louise,” January 21 (Matinee).
The lone performance this season _ of Charpentier’s “Louise” would have fared better had it been altogether postponed until next season. Due to no other cause than excessive work, even though the dailies think differently, Polacco had to relinquish the baton to Gabriel Grovlez. Polacco has conducted so often this season that one wonders how he was able to keep up physically with the work placed on his shoulders. Inasmuch as he conducted the performance of “Tristan and Isolde” in the evening and as he is scheduled to conduct the performance of “Samson and Delilah,” which will open the season at the Manhattan
Chicago, January 21, 1922.—“Getaway” week of the Chicago Opera Association was opened with a repetition of Debussy’s “Pelleas and Melisande,” with the same cast heard at a previous performance and Polacco conducting. “Salome” was announced as the opening offering of the final week, but Strauss’ opera has not been accepted by habitues of the opera in the repertory of the company; and though it has been announced that the work will be produced at the Auditorium next season, the stories that emanate from the present management must be taken with a grain of salt, as much water will flow under the bridge between now and next November and Miss Garden, if she should remain after May. 1 as the general director of the Chicago Opera Association, will find her wings clipped, as her authority will be curtailed. “Salome,” however, is announced for New York and Philadelphia and from there to San Francisco and the Pacific Coast.
“Madame Butterfly,” January 17.
Galli-Curci repeated “Madame Butterfly,” supported by Pavlowska, Johnson and Baklanoff. Ferrari conducted.
“Romeo and Juliet,” January 18.
Amidst greatest enthusiasm and ovations which no other artist has received here, Muratore made his last Chicago appearance as a member of the Chicago Opera Association for the present season, as Romeo to the Juliet of Edith Mason, who made also her season’s farewell in the opera that has been one of her greatest successes. Dufranne, Rocca, Payan and Margery Maxwell repeated their roles. Grovlez conducted.
“The Girl of the Golden West,” January 19.
After an absence of some eleven years from the local operatic boards, Puccini’s “Girl of the Golden West” was revived for one lone performance this season in order to present the new Greek tenor, Ulysses Lappas, in one of his best roles, that of Dick Johnson. Mr. Lappas has sung the role many times in Europe, so thus he found himself quite at ease on the Auditorium stage, where he achieved a success that presaged well for further acquaintance. European audiences know less about the life of California mountaineers and miners than Americans do, and for that reason Mr. Lappas’ costume and portrayals were much discussed and even criticized. Mr. Lappas has much in his_ favor—a good voice, which is brilliant in the upper register, and the lovers of high tones were delighted whenever he had opportunities to use them, showing their pleasure by salvos of plaudits. Mr. Lappas is a good acquisition, whose return next season is practically assured.
Rosa Raisa made one of the most distinct hits of her long and successful American career as Minnie, the Girl of the Golden West. In order to facilitate Lappas’ debut in this opera, our Rosa had to study night and day for this heavy and long role, as only fifteen days ago she was asked by the management to make an unheard of effort, and when she consented the management felt sure that she would come out of the ordeal with flying colors. She did much more than that. She made Puccini’s unsuccessful score one of the most enjoyable and interesting operas of the present season, and this is doubly remarkable, as at its first presentation here it had been pronounced by both the public and press alike a huge fiasco. Her portrayal of the part would have been a credit to any woman on the legitimate stage, as it was excellently presented. It was a forceful characterization of an innocent girl mingling with miners frequenting barrooms, whose acknowledgment of love for Dick was as powerfully presented as her overwhelming astonishment when informed that her new acquaintance was an outlaw; later on she sounded the note of pathos when her lover was wounded by Ranсe, and in the ensuing scene with that Sheriff, when she cheated him at a game of cards in order to win her bet. Sensationalism in the theater where melodramas are presented is achieved quite often with cheap tricks, with gestures often more hilarious than dramatic, with sobs that resemble a goat’s “maa’s” and tragic moments obtained with the flashing of revolvers in the face of the villain. Not so with Raisa, who had made an extensive study of the role and brought out all its possibilities, both vocally and dramatically, to her own personal glorification, that of the company, and even to that of the librettist and composer. This being the last week of the season
MARGOT
M
marked by refinement and good taste, qualities never too common.
NEW YORK TRIBUNE—H. E. Krehbiel—
Her voice seemed promising, clear and pleasing, although limited in volume.
NEW YORK TIMES—
Margot Samoranya, a light high soprano, with a leaning toward operatic airs, sang agreeably at Aeolian Hall yesterday afternoon.
NEW YORK WORLD—	.	,	.	,	..
Her interpretations showed sincere intent and good schooling.
NEW YORK AMERICAN—
A pretty voice is hers, appealing in quality, and she sings with discretion and taste.	____________
NEW YORK HERALD—William J. Henderson—
There is no question that the young woman possesses good vocal material, a voice light but of very pretty quality and much ■taste in the treatment of her songs. Her program revealed taste and discrimination in the field of lyric composition as well as high artistic ideals.
NEW YORK MAIL—
With rather a delicate soprano voice, Margot Samoranya sang at Aeolian Hall in the afternoon. She was especially charming in her five Greek melodies by Ravel, in which her bright diction was delightful.
NEW YORK GLOBE—
Miss Samoranya disclosed a sweet soprano voice and a delightful feeling for the graces of song, and her singing was
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