February 2, 1922
MUSICAL COURIER
48
Members of the opera class of the Knupfer Studios gave a performance of two scenes of Wagner’s “Flying Dutchman” on January 17 before the Debora Dramatic Club, preceded by an introductory talk on the “Drama in Opera” by Miss Muhlmann. The solo parts of Senta and Mary were sung by Amalie Thoma and Rose Goldman. Esther Parker, Genevieve Deuerling and Mathilde Thoma assisted in the choral part.
Witmark Songs Popular.
Olive June Lacey, soprano, included Vanderpool’s “Come Love Me” in these most recent programs: Louisville, January 5; Oak Park Club, Oak Park, 111., January 22 and January 27, with the Edison Symphony Orchestra, in its series of radio concerts.
On January 26 the Kaynor Sextet gave a program for the Jewelers’ Convention, LaSalle Hotel, at which time it sang “Italian Street Song,” “Kiss Me Again,” “Stein Song" from the “Prince of Pilsen”), “Can’t You Hear Me Calling, Caroline,” and “TO Forget You” (Ball). The last number was particularly well received and had to be repeated.
Penn’s very popular ballad, “Sunrise and You,” was a featured number at the amateur performance given by the Ben Franklin Fellowship Club, at the Aryan Grotto, January 25, 26, 27 and 28. This number was delightfully sung by Paul Holmes, tenor.
“Children’s Crusade” Sung.
Pierne’s “Children’s Crusade” was beautifully sung by a chorus made up of young lady students of St. Xavier’s Academy and the Haydn Choral Society, under the direction of Haydn Owens, at Orchestra Hall, January 24. The excellent work of the chorus was duplicated by the soloists: Lillian Eubank, soprano; Lois Johnston, soprano, and James Hamilton, tenor. Some splendid singing of the music allotted to Alain was done by Lillian Eubank, the possessor of a soprano voice of much charm, appealing quality and which is used with consummate artistry and regard; she scored heavily at the hands of the delighted listeners. Miss Johnston did satisfactory work as Aliys. A better rendi-ing of the Narrator’s part than James Hamilton gave it would be difficult to imagine, as his singing was of such high order that it could hardly have been improved upon. He, too, won much favor. The choir had the efficient support of Wilhelm Middelschulte at the organ, and sixty members of the Chicago Symphony Orchestra supplied excellent accompaniment.
Carl Craven Studio Items.
The Carl Craven Studios presented in recital, on Tuesday evening, Edyth Berry and Alma Schulz, sopranos; Floyd Carder, baritone; Edna Worrell, contralto; Wilfred Cushing, baritone. These three, with Blanche Bonn, contralto, closed a pleasant evening in a quartet.
Carl Craven, tenor, is engaged for four appearances next week in Chicago, besides taking care of a large class of pupils. January 30, he will be soloist for the Illinois Colony Club at the Sherman Hotel; February 1 and 2 he will sing the tenor role in “Cavalleria Rusticana,” at Portage Park Theater, in costume; February 3, he will be soloist for the Radiograph at the Edison Building.
Delamarter’s Solo Choir in Second Concert.
Such admirable singing as the Chicago Solo Choir, directed by Eric Delamarter, set forth at its second concert, January 25, at Lyon & Healy Hall, is just what makes choir music popular. A few more concerts such as this one and the Chicago Solo Choir will be among the most prominent choral organizations in the city. Yet in its infancy, this choir of twenty trained voices, is developing fast and its excellent accomplishments on this occasion are due solely to Eric Delamarter’s efficient and diligent training. A sincere musician, alert, with an eye always to offering something new and interesting, he has realized in this latest departure another ideal. Would that there were more such musicians to uplift the musical art. He led his choir valiantly through Bach’s motette, “Jesu, Priceless Treasure,” three Russian church songs by Tschaikowsky, two English part-songs by Bantock, and Debussy’s “Three Songs of Charles d’Orleans.” In the latter an opportunity was afforded Mina Hager to reveal what a splendid artist she is through her beautiful singing of the solo part. Her lovely contralto voice and exquisite French diction shone to special advantage. Lending variety to the program, the Chicago Woodwind Ensemble rendered Fevrier’s suite for flute, oboe, clarinet, bassoon and horn, in fine fashion.
Spry Scholari's Third Meeting.
The Spry Scholar¡ will hold its third meeting this season at the Columbia School of Music, February 3, at four o’clock. A program will be given to illustrate a talk by Walter Spry on the works of Bach and Mozart.
Chicago Musical College Happenings.
The Chicago Musical College School of Dramatic Art presented, in Ziegfeld Theater, Saturday morning, the three-act comedy, “A Russian Honeymoon,” by Mrs. Burton Harrison. The following cast interpreted the work: (Alexis Petrovich) T. W. McMahill, Jr., (Poleska) Julia Flox, (Baroness Vladimir) Grace Merrill, (Ivan) John Barcus,
Marie LIGHTHALL
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UMBERTO BEDUSCHI
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Delamarter’s Solo Choir Displays Admirable Singing at Second Concert—Civic Orchestra Delights Again—Du Carp, Estelle Llebling, Edna Richolson Sollitt, Charlotte Silverson-Foreman, Esther Linder, Nina Koshetz, Give Programs—Hofmann Triumphs with Orchestra—Studio Items and News Notes
Nina Koshetz Participates in Russian Program.
Unusually interesting was the program presented in Orchestra Hall on Monday evening, January 23, in which Nina Koshetz, soprano; Inna Roubleff, pianist-composer, and Nahum Benditzky, cellist, participated. Mme. Koshetz, of the Chicago Opera Association, was on this occasion afforded an opportunity to display her vocal gifts to good advantage. Hers is a big soprano voice of lovely quality, especially in the medium register, as the top notes are unsteady and inclined to sharpness. She won much success with her own arrangement of a Chopin etude, Schumann’s “Ich grolle nicht,” an air from “Xerxes” by Handel, Scriabin’s “Devotion” (which is still in manuscript and was given to Mme. Koshetz for her sole use), Rachmaninoff’s “Vocalise,” “Three Songs of Happiness and Truth” from her own pen, and four songs by Inna Roubleff. She scored heavily at the hands of the listeners whose enthusiasm brought several encores. In Mme. Roubleff was revealed a composer of no mean ability, who possesses the wherewithal in pianistic equipment to play her own numbers to best advantage. She played four of her own selections in a most charming manner, adding to the enjoyment of her exceptionally interesting output. The cellist, Nahum Benditzky, besides playing the Eccles sonata, rendered Mme. Roubleff’s “Berceuse,” “Ballade” and “Russian Reverie and Danse” most effectively, and came in for a goodly share of the evening’s success. Leon Benditzky functioned as accompanist, proving an unusually good one.
Estelle Liebling in Joint Recital with Edna Richolson Sollitt.
A joint recital, which proved highly enjoyable, was presented at Kimball Hall, Tuesday evening, by Estelle Liebling and Edna Richolson Sollitt. Of late Miss Liebling has been heard often in Chicago, where she counts a host of friends and admirers, and as these columns have often contained highest praise for her work, a review of this concert would be but a reiteration of what has already been said in regard to this artist’s refined and finished art. Therefore, to say that she won her listeners’ hearts by the charm of her voice and song will suffice. Her numbers were Brahms’ “Dein blaues Auge” and “Waldeinsamkeit,” Schubert’s “Wohin,” Kienzl’s “Maria auf dem Berge,” a French group by Debussy, d’Erlanger, Ravel and Szulc and a miscellaneous group by Vassilenko, Moussorgsky, Resphigi and Zandonai. She had the excellent support of that fine accompanist, Richard Hageman. An unusually gifted pianist, Mrs. Sollitt’s rendition of numbers by Weber, Brahms, Cui, Dohnanyi, Chopin, Rubinstein and Liszt-Busoni, served to display her remarkable pianistic qualifications. Imagination, charm of manner and her evident devotion to music, are among the salient points in her make-up. She shared with the singer in the audience’s favor.
Knupfer Studio Happenings.
Walter Knupfer, director of the Knupfer Studios of Music and Dramatic Art, announces a series of recitals to be given by students of the piano and voice department on Sunday afternoons, at the School, Annex 400, Fine Arts Building. The first recital of the series will take place on February 5 and will present advanced piano students of Walter Knupfer and advanced vocal students of David Baxter, Eusebio Concialdi, Zerline Muhlmann and Margaret Lester.
The studio recitals given by piano and violin pupils in the preparatory department will continue as usual on alternating Saturday afternoons.
¡NICOLA Y
T	......
A
n Reengaged for eleventh season as leading i Basso with Chicago Opera Association
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Address: CHICAGO GRAND OPERA -	- CHICAGO
EDOUARD COTREUIL
LEADING BASSO-BARITONE Chicago Opera Association
EDGAR NELSON
Plano and Organ Instruction
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Flora Waalkcs
Soprano
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ALEXANDER RAAB
Pianist
Eight assistant teacher*, nineteen associate teachers Fine Arts Bldg., Chicago
Chicago, 111., January 28, 1922.—In her recital at the Blackstone Theater Sunday afternoon, January 22, Magde-leine du Carp demonstrated beyond doubt that she is among the best women pianists of the day. Polished and refined is her piano work, and this, coupled with exquisite taste, lovely phrasing, a rare regard for shading, ample technic and exceptional interpretative ability, reveal Miss Du Carp a charming artist with much to offer. She played two Rameau numbers—“Les Tourbillons” and “Le Tambourin” —Couperin’s “La Floeurie ou la tendre Nanette,” Scarlatti’s sonata and Mozart’s “Pastorale Variee” in her first group, which was all this writer was able to hear. Most effectively done, they elicited the hearty approval of a delighted audience. This was under Rachel Busey Kinsolving’s direction.
Civic Orchestra’s Concert.
That part of the Civic Orchestra’s program upon which this review is based included the Humperdinck “Hansel and Gretel” overture; Saint-Saëns’ symphonic poem, “Spinning Wheel of Omphale,” and the Berlioz “Rakoczy March.” Under Eric Delamarter’s graceful, yet forceful, baton, the orchestra gave good account of itself in these selections to the enjoyment of the many who came to Orchestra Hall to listen to this interesting body of youngsters, whose youthful vigor and enthusiasm are ever present and add much in making their concerts pleasurable. This, too, was on Sunday afternoon, January 22.
Charlotte Silverson-Foreman Plays.
Among the artists appearing on the program at the Illinois Theater on the same afternoon, in a benefit concert, was Charlotte Silverson-Foreman, the well known Chicago pianist. Her renditions of the Chopin F sharp nocturne, MacDowell’s “Scotch Poem,” Grainger’s “Irish Tune From County Derry,” and Cyril Scott’s “Dance Negre,” disclosed her an accomplished pianist with an admirable technical equipment, fully ample to meet the demands of the most taxing numbers. She scored heavily with the listeners and justly so, for she offered piano playing of a high order. It would be interesting to hear more of this gifted artist. Others appearing were Cathal O’Byrne, who sang a number of Irish ballads, and Cecelia Young, harpist, who rendered a group of selections.
Artist Pupil of Glenn Dillard Gunn Heard.
The recital by Esther Linder, at Cohan’s Grand Opera House, under F. Wight Neumann’s direction, delighted a musical audience. Glenn Dillard Gunn presented her as his artist pupil.
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