MUSICAL COURIER
38
MURATORE’S ILLNESS CAUSES CHANGES
IN CHICAGO OPERA REPERTORY
“Love of the Three Kings” Substituted for “Monna Vanna”—Edith Mason a Splendid Mimi—Claire Dux in “Pagliacci” and Raisa in “The Jewels” Each Score Success—“Infanta’s Birthday” Ballet Well Liked—“Butterfly” Given in Place of “Tales of Hoffman” Because of Johnson’s Illness—“Salome” a Triumph for Garden —Polacco Shows Skill as Conductor of German Works
February 9, 1922
Brandeis Theater, which has a larger seating capacity than the Fontenelle ballroom.
More than two thousand people heard Miss MacLaren at Assembly Hall in Salt Lake on January 17, where she appeared under the auspices of the University of Utah. The Salt Lake Tribune says: “From the raising of the curtain until the final scene, her audience sat entranced. ... A special reception has been arranged for her at the University of Utah at 11:30 a. m. Wednesday, when the University students will be given an opportunity to meet her.”
Musicians’ Club Arranges Dinner for Coates
The dinner to be tendered to Albert Coates, the guest conductor of the New York Symphony Orchestra and Mrs. Coates, by the Musicians’ Club of New York at Delmonico’s, February 9, will have as speakers, Paul Cravath, Harry Harkness Flagler, Ruben Goldmark, T. Tertius Noble, William J. Henderson and Mary Garden.
The honor list of guests includes many representative figures in music, art, and literature of England and America. Those who will appear in the concert, which will follow the dinner, are George Barrere, the flutist; Serge Prokofieff, the pianist, and Nina Koschetz, soprano of the Chicago Opera. Mr. and Mrs. Coates will return to England early in March.
Stopak Responds to Encores in Tarrytown
“Mr. Stopak responded to the demands of the audience with delightful encores”—such was the verdict of the Tarrytown News after the violinist’s appearance there in concert on January 19. On his program, among other selections, was the Vivaldi-Nachez concerto in A minor, “Souvenir de Moscow” (Wieniawski), and lighter numbers by Juon, Arensky and Kreisler. On February 1 Mr. Stopak appeared in concert with Chaliapin in Philadelphia, rounding out a series of engagements with the famous basso that have taken them to many of the principal cities of the East. February 7 found Mr. Stopak in Peekskill, N. Y., where he scored a success.
Trio Glassique Busy
The Trio Classique, which gave a successful recital at Aeolian Hall recently and which is composed of Celia Schiller (pianist), Maurice Kaufman (violinist), and John Mundy (cellist), has been in demand ever since. Its most recent appearance was at the opening concert of the Adolph Lewison Free Chamber Music Concerts at Hunter College on February 2. On February 23 it will give a recital at Steinway Hall. On March 6 the next Aeolian Hall recital will take place.
The Trio Classique is now under the exclusive management of Jules Daiber, and a spring tour is being arranged.
Myra Hess with Orchestra
When Myra Hess appears with the San Francisco Symphony she will play the Grieg concerto, which she has played several, times, under Landon Ronald, in England at Albert Hall; under Mengelberg, in Amsterdam and Utrecht, and Sir Henry Wood, in Queens’ Hall, London.
She has also played the D minor Mozart concerto under Sir Henry Wood, and will play it next week with the Boston Symphony Orchestra.
Miss Hess will play four different concertos with four symphony orchestras in America this season.
Paulist Choir at Carnegie Hall
The annual concert of Father Finn’s Paulist Choir will be given on the evening of February 13 at Carnegie Hall. The choir will be assisted by Alice Verlet, formerly of the Paris Opera: John Finnegan, tenor, and Overton Moyle, bass. Anne Wolcott will be at the piano and Father Finn at the organ.
Dr. Wolle Gives Lecture in New York
On February 2 Dr. J. Fred Wolle, conductor of the Bach Festivals at Bethlehem, Pa., gave a lecture-recital at the New York home of Mrs. Willard D. Straight. Dr. Wolle illustrated the lecture, which was on the compositions of Bach, at the organ. The affair was under the auspices of the Schola Cantorum.
Yost and Tallarico in Youngstown
Gaylord Yost, violinist, and Pasquale Tallarico, pianist, appeared in a sonata recital on January 31, at Youngstown, Ohio. The recital was under the auspices of the Ursaline Academy and the program comprised: Brahms D minor, Beethoven C minor, and the César Franck sonatas.
Hamilton Plays for Dickens Fellowship
Eleanor E. Hamilton, pianist, was one of the artists who appeared on the program given by the Philadelphia branch of the Dickens Fellowship at the Musical Art Club on the evening of January 25.
O B ITUARy
Luigi Denza
Chevalier Luigi Denza, composer of popular Italian songs and director of the Royal Academy of Music, London, died in that city last week at the age of seventy-five. He was born at Castellammare di Stabia, near Naples, on February 24, 1846, and was a graduate of the Naples Conservatory, later an assistant professor there. He went to London in 1879 and settled there permanently in 1883. Ever since 1889 he has been connected with the Royal Academy. He had written numerous popular Italian ballads, but the song that made him famous was “Finiculi-Finicula,” written on the occasion of the completion of the Funicular railroad up Mount Vesuvius. This quickly became so universally known, that even Richard Strauss regarded it as an Italian folk song and introduced it in one of his works.
was none the less successful than she has been previously in the role in this city. Vocally, Mme. Raisa was superb and aroused the large audience to great heights of enthusiasm. As an actress, this singer is also skilled, and her portrayal, on the whole, was touching and wholly impressive. Forrest Lamont lent his agreeable voice to the part of Gen-naro, while Rimini was admirable as Rafaele, leader of the Camorra. Maria Claessens was satisfactory as the blind mother and the small parts were in the hands of such capable artists as Margery Maxwell, Vittorio Trevisan, etc. Incidental dances by Andreas Pavley and Serge Oukrainsky added to the pleasure of the excellent performance, as did the orchestra under Pietro Cimini.
“Madame Butterfly,” February 4 (Matinee).
Owing to the illness of Edward Johnston, who was to have sung in “Tales of Hoffman,” the opera had to be changed to “Madame Butterfly,” which had been given here previously by the company. Edith Mason was again a delightful Cho-Cho-San, both vocally and histrionically, and she was warmly received. Irene Pavloska, a sympathetic Suzuki; Georges Baklanoff, a handsome and rich voiced Sharpless and Forrest Lamont, an admirable Pinkerton as to voice and acting, lent Miss Mason excellent support. The performance was heard by a good sized audience and it was fully enjoyed. Ferrari conducted with authority and proper spirit.
“Salome,” February 4.
(See Variations, page 21)
Musicians’ Fund of America Issues Appeal
Mrs. Lee Schweight, founder and president of the Musicians’ Fund of America, has issued the following appeal to musicians and music lovers:
The Musicians’ Fund of America, a national non-sectarian organization, incorporated under the laws of the State of Missouri, wishes to call your attention to the noteworthy object for which it has been founded, i. e., “To establish a Musicians’ National Home Fund for the purpose of erecting and maintaining a national home for aged and indigent musicians.”- This great philanthropy means a real home amid harmonious surroundings for every professional musician throughout the country, whether vocalist, instrumentalist, teacher or composer, who, through illness, misfortune or old age, may be in need of it. It, therefore, should have the support of everyone in the musical profession, as well as the public in general, who is interested in the development of music and the welfare of the musician, who has done so much for the progress of music at the expense of provision for himself when necessary.
We trust that this splendid cause will so appeal to you that we shall be accorded the pleasure of an early enrollment or donation from you, for which blanks are enclosed.
Dues for membership are as follows: active, $2.00 per year; subscribing, $25.00 per year; life membership, $100.00; life patron, $1,000.00.
Assuring you of our grateful appreciation for any assistance you will be kind enough to render this worthy cause, we are,
(Signed) Musicians’ Fund of America.
American Institute Recitals
The ninety-first sonata recital took place at the American Institute of Applied Music, January 20, when a program of chamber music consisting of works by Mozart, Saran, Beethoven and Bonnis was performed by Jeanette Dalton, Louise Keppel, Em Smith, C’Zelma Crosby and Alice Nichols.
A students’ recital in the same institution took place January 30, when pupils of Miss Chittenden, Messrs. Lanham, Moore, Spiering, Klibansky and Gaylor, performed chiefly works by modern composers. Those taking part in the latter were Frederick J. Hanlon, Luther Tucker, Nicholas Tucker, Hannah Unterman, Grace Cottrell, Samuel Nuss-baum, Clarinda Kerekjarto, Dorothy Hobbie, Samuel Pra-ger, Gwilym Anwyl, Margaret Spotz, William Smith, Edna Oster, Morris Goldberg, Adele Holstein, Charles Branden-berg and Irene Miller.
The January “Musical Quarterly”
The January number of the Musical Quarterly contains the usual number of interesting articles on things important and unimportant in music, the relative importance or unimportance of them depending, of course, entirely upon the reader’s viewpoints. Specially interesting is Alfredo Casella’s short article “What Is Art?” The Italian composer of eccentric music does not hesitate to answer a question that has bothered a great many men before him, although his conclusion is a negative one: “Art is a very different matter from the industry (called by the same name) which is generally taught in the official schools and which encourages and sustains so tenaciously the intellectual baseness of the masses, of the critics, of the publishers, etc.”
A timely article is that by Zdzislaw Jachimecki on Karol Szymanowski. After having tried in vain to pronounce the names of both the author and the subject of the article, the reader will find some decidedly interesting information about a composer whose works are attracting quite a little attention at the present moment.
Gay MacLaren Charms Omaha and Salt Lake
“Probably eight hundred wives gave wondering husbands the same excuse for being late at dinner last night,” says the Omaha Bee of January 11. “Gay MacLaren was to blame. She reproduced the popular play, ‘Dulcy,’ for a large Drama League audience at the Fontenelle Hotel Tuesday afternoon.” So well pleased was the immense audience that arrangements are being made to have Miss MacLaren return to Omaha in March for a date at the
“The Love of the Three Kings,” January 30.
Because of the sudden illness of Muratore, “The Love of the Three Kings” was substituted for “Monna Vanna,” so that in place of the French tenor Mary Garden had as her lover the American tenor, Edward Johnson. Many there were who, of course, felt a bit disappointed because of the change of opera, but the combination of Garden and Johnson was indeed fine enough to hold the audience throughout and, particularly at the end of the second act, bring thunderous applause.
Garden was just Garden—■and that is saying a lot; her acting was superb. And Johnson was fully equal to the task set for him. The role of the blind king was excellently handled by Lazzari. Polacco conducted with his customary skill, also sharing in the applause.
“Tristan and Isolde,” January 31.
The first German opera to be given by the Chicago Opera in New York for many seasons was “Tristan and Isolde.” It was also the first time that Giorgio Polacco had an opportunity to show what he could do with a Wagnerian score. What he did was excellent. Thoroughly familiar with the music and a great admirer of it, he put his whole heart and soul into bringing out sympathetically every detail of the great score. His orchestra, by far the best, one the Chicago Opera has ever had, responded beautifully, playing with the utmost enthusiasm and attention. It was splendid proof of what loyalty a magnetic conductor can inspire in the men who play under him.
The cast being the same as in the Chicago performance reviewéd at length here a few weeks ago, it need only be said that Beatrice Kottlar, the Isolde, showed that the praise she had won in that city was thoroughly justified. Richard Schubert did not impress particularly as Tristan. He seemed merely the typical German tenor with a decided knddel in his throat. William Beck knew the traditions of Kurvenal thoroughly, and James Wolf was a sonorous and dignified King Marke. Eleanor Reynolds, the American contralto, heard for the first time in opera in New York, was a very satisfactory Brangaene. She has a rich, full voice, which sounded particularly beautiful in the song from the tower in the second act. Smaller roles were well taken care of by Desire Defrere, Octave Dua, Harry Cantor and Jose Mojica. There was plenty of applause throughout as acts closed, and at the end of the opera came the longest ovation which this season has produced at the Manhattan. Maria Jeritza, who had sung with Schubert many times in Vienna, was an interesting spectator from the second tier box.
“Boheme” and “La Fête a Robinson,” February 1.
Edith Mason as Mimi was a charming picture to gaze upon, youthful and pulchritudinous, and also in her acting, which reflected grace, sprightliness, and gentle coquetry, she realized to the full the figure which Puccini had in mind when he wrote his delightful opera celebrating the romance of Mimi and Rodolfo. Miss Mason’s voice is eminently suited in fluency and lyric quality to the measures she was called upon to sing, and their delivery was a joy to the ear, even as her intelligent use of vocalism as a means of emotional expression was a source of stimulation to the discriminative mind. Miss Mason’s striking success was evidenced by the vociferous applause she received.
Tino Pattiera, about whom excellent reports had come from Chicago, was the Rodolfo, and a handsome Rodolfo he made, romantic in appearance and in action. He partnered Miss Mason admirably and the love story of the devoted pair never was presented here more eloquently than by the two artists in question. The Pattiera voice is warm in quality, flexible, and amply quantitative. In its employment the singer showed taste, reserve and keen technical skill. He had a splendid and well deserved reception.
Giacomo Rimini, the Marcello, was “the life of the party” so far as the rest of the rollicking Bohemians were concerned. His humorous touches formed delightful^ comedy relief. Mary McCormic did a pretty and^ pleasing Mu-setta, with adequate tonal contributions. Giorgio Polacco, the conductor, was on hand with his best interpretative and temperamental assistance and that insured the proper musical atmosphere on the stage and in the orchestra.
The ballet-pantomime by Gabriel Grovlez, “La Fête â Robinson,” is an engaging conceit, full of piquant fun and dancing opportunities, with music of the most engaging kind, tuneful, rhythmically fetching, harmoniously fasci-cating, and orchestrated with a fine regard for color and picturesque instrumental effects. The costumes are dainty and attractive. Messrs. Pavley . and Oukrainsky put on the work and the latter is a particular success in an impersonation which must be seen to be appreciated.
“Pagliacci” and “Infanta's Birthday,” February 2.
Claire Dux was a very attractive and vocally mellifluous Nedda, who provoked enthusiastic plaudits after her fluent singing of the “Bird” aria. The Greek tenor, Ulysses Lap-pas, did the part of Canio, and gave it full tones, deep feeling and musical meaning. He scored markedly with his hearers. Joseph Schwarz, the Tonio, sang and acted with tremendous verve and strong effect.
Carpenter’s picturesque and melodious score helped his ballet to register splendidly, even without his pleasing scenic picture and the very amiable and graceful dancing of Messrs. Pavley and Oukrainsky. Cimini conducted the opera, and Isaac Van Grove the ballet.
“Jewels of the Madonna,” February 3.
Rosa Raisa was heard in her familiar role of Maliella •in “The Jewels of the Madonna,” on February 3, and she
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DUTCH VIOLINIST
Preparatory Teacher to
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