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MUSICAL COURIER
January 2 6, 1922
NNING
The Favorite American Baritone
Available in America Until Late April Third European Tour Opens, London, May 23rd
Recent Press Tributes:
Among recital artists of the present day Cecil Fanning, the young American baritone, has very few equals; and his concert on Monday evening in Massey Hall was a series of continuous delights for the music lover. His voice is of beautifully smooth individual and mellow quality, but it is the finesse of his interpretations, the perfection of his phrasing and enunciation, and his mastery of the whole technique of voice production, that give his recitals their unique distinction.
—Toronto Saturday Night.
Toronto has heard several big singers this season—Caruso, Martinelli and Edward Johnson, all of them able to thrill an audience—but Cecil Fanning has points of his own in comparison with these stars of song. He gives a thoroughly satisfying recital.
—Toronto Daily Star.
The most satisfying song interpreter who has come to us from the United States since David Bispham was in his prime.
-—Toronto Mail and Empire.
He seemingly possesses all that one could wish for in his field of art, resonant tone, graceful phrasing, clear diction and above all compelling rhythm flowing as steadily as the water of the brook.
—Oregon Daily Journal.
IN RECITAL
Cecil Fanning was far and away the best singer who has yet appeared on the popu-ular concerts. Finished in phrase, always articulate, he gave many a stirring exposition. The aria from Gretry’s “Richard Coeur de Leon” was valiantly declaimed. The Schubert “Wanderer” was excellently resonated. The rippling “Maid of the Mill” was finely spun.
—Pittsburgh Post.
Schubert’s “The Wanderer,” at the head of his next group, he sang with exceptional breadth of eloquence. This was one of the most deeply felt and thoroughly organized interpretations we have heard this season.
—Pittsburgh Gazette Times.
One must again draw attention to the fact that Cecil Fanning’s ability for sensing the tastes of his audience is unmatched by very, very few vocalists at present before the public. Where is the baritone who can rival Fanning in the use of mezza voce—the real test of voice production? And who can approach him as a mood painter?
—Vancouver Daily Province.
IN ORATORIO
Cecil Fanning’s magnificent baritone suited exactly the music given to the prophet to sing. He made even that conventional and tiresome aria “Like a Hammer That Breaks the Rock” seem graphic. It has seldom, if ever, been so well done in those parts.
—Hamilton Herald.
Mr. Fanning, fresh from a triumphant European tour, sang delightfully. He chose a program of rare merit and in its interpretation was faultless. His baritone is strikingly effective and his personality and diction add much to his numbers.—Buffalo Commercial.
When Cecil Fanning sang “Where Did You Come From, Baby Dear,” at last night’s concert of the National American Music Festival, he was given an ovation. There, as in all his other numbers, Mr. Fanning brought all the sentiment and tenderness of mood the song could call forth into his delivery.—Buffalo Times.
Cecil Fanning offered a lesson in diction that might well be followed by even older artists. Clean-cut, impeccable, he painted tonal pictures that revealed what artistic interpretation may achieve. “The Time for Making Songs Has Come” by Vanderpool, was a polished mosaic. “The Last Leaf” by Homer, a masterpiece of vocal beauty and diction, the aria from the Indian opera “Alglala” splendidly dramatic. Mr. Turpin at the piano for Mr. Fanning afforded musicianly support.•—Buffalo Courier.
Mr. Fanning’s singing of the Elijah solos was beautiful and artistic throughout. His recitatives were characterized by clarity and feeling, while dramatic fervor or tender sympathy gave color and life to the arias.—Hamilton Spectator.
SEASON 1922-23 NOW BOOKING