MUSICAL COURIER
58
February 9, 1922
could doubtless not be duplicated in this country in any town the size of Tampa.
Isabel Marquet, late of the Havana Opera Company, showed much versatility and histrionic art in the lyric soprano roles. Paul Gatazzi, a former grand opera singer of note and now a teacher in this city, distinguished himself in the leading roles, particularly as Figaro, in the “Barber.” Others in the cast were Matilde Galazzi, mezzo soprano; Miss Lambert, contralto; in the baritone roles were Cisneros, Jose Rueda, D. Alvarez, J. Gobernales. Max Eche-garay (a very gifted young pianist recently of Madrid) conducted in a musicianly manner and with marked esprit. Este-fono Guerrieri, a Sicilian composer, was the efficient prompter. The chorus and orchestra were made up of local recruits. The management of these performances was in charge of Rogelio Rigau, director of the Granados Conservatory. He was ably assisted by Emilio Bister.
Terre Haute, Ind., January 25, 1922.—As the second attraction in the series which is being given under the auspices of George Jacob, the Cincinnati Symphony Orchestra gave a matinee and an evening concert before audiences which filled the Grand to its capacity. A feature of the matinee which was especially enjoyed was the Handel “Largo,” with the incidental solos for violin, played by Gabriel Ysaye, and for harp, played by Joseph Vito. It was necessary to repeat this number, so enthusiastic was the applause. Wagner’s “Ride of the Valkyries,” Tschaikow-sky’s “Nutcracker” suite, and Mendelssohn’s “Midsummer Night’s Dream” were the remaining numbers on the program. The big work of the evening’s program was the Brahms symphony No. 3 in F major. There were also the Chabrier “España” rhapsody, Bizet's “Patrie,” Ysaye’s “Exile,” and Liszt’s “Les Preludes.”
In preparation for the concerts, Anna E. Hulmán gave a lecture on the program for the members of the Department Club. The greater part of the evening's discussion was given to the analysis of the Brahms symphony, the illustrations for which were supplied on the piano by two of Miss Hulman’s artist-pupils, Antoinette Fritz and Eugenia Hubbard.
Toledo, Ohio, January 10, 1922.—Erika Morini scored at her recital in Scott High Auditorium. Her program consisted of the Saint-Saëns B minor concerto, two groups of small pieces, closing with a brilliant rendition of Sara-sate’s “Faust” fantasie. The delighted audience insisted upon several encores which were graciously given. It was presented under the auspices of the Teachers’ Concert Course, Ada Ritchie manager.
Anna Pavlowa and her assisting artists gave a program of two one-act ballets—“The Magic Flute,” with music by Drigo, and “The Snowflakes,” with music from Tschai-kowsky’s “Nutcracker” suite; also a divertissement which contained selections all new to Toledo. The excellent orchestra was under the baton of Theodore Stier. Bradford Mills was the local manager for the Pavlowa company.
The Sunday afternoon concerts of the Civic Music Leag'ue are meeting with considerable success. Sergei Rachmaninoff drew a large and appreciative audience to his recital at the Coliseum on the afternoon of December 4. The closing group consisted of a Donhanyi etude, Rachmaninoff’s “Polka de W. R.,” his arrangement of Kreisler’s “Liebes-lied” and Liszt's tarantella. The audience was not appeased until Rachmaninoff played his own prelude in C sharp minor as an encore.
Lucrezia Bori was heard in a costume recital at Scott High Auditorium on December 5. Mme. Bori delighted both eye and ear. Three French songs were given in costume of 1830, followed by an aria from Mozart’s “Marriage of Figaro” and the Ballatella from “II Pagliacci.” Then came a group of Italian songs in costume of the early eighteenth century. The program closed with a spirited rendition of a group of Spanish songs. Mme. Bori was dressed in a flaming red Goya costume. Edouard Gendron contributed a group of piano solos.
Toronto, Can.—(See letter on another page.)
Trenton, N. J., January 16, 1922.—Plans are going forward for the initial concert by the Trenton Symphony Orchestra. Definite arrangements have not yet been completed and no announcement of the date has been made but it is expected within the next few weeks. Organization of the orchestra, which dates back to the latter part of last year, is due largely to quiet but persistent efforts on the part of Gustav Hagedorn, violin director of the Trenton Conservatory of Music, and a small group of enthusiastic musicians with the musical interests of the city at heart. Mr. Hagedorn, since coming to Trenton from Raleigh, N. C., about two years ago, has taken an active part in the musical life of Trenton and the success of his present venture will entitle him to a place among the city’s benefactors. The orchestra began with a membership of eighteen, which included six women. The present membership exceeds forty and every indication assures the goal of fifty soon being achieved. Mr. Hagedorn is a former member of the Cincinnati Symphony and well qualified for the position he holds as director of the Trenton Symphony.
Utica, N. Y., December 22, 1921.—What promises to be a successful venture in the community singing plan was a first trial in Utica, at the State Armory on December 22. The various community centers of the city, under the supervision of the department of recreation, met at the State Armory for a big Christmas Community “sing,” led by Prof. Samuel Evans, who has been employed by the commission to direct and lead the individual centers. There was an exceptionally large turnout from centers at Schools 19, 21 and Kernan, filling the Armory, which had been rented for the occasion. The idea of community singing has often been discussed, and it is known to be one of the branches of Americanization projects gathering force all over the United States. Its success here has always been a matter of some question, for Utica is broken up into numberless cliques. But the affair at the Armory demonstrated that they could be brought together with success, and it is expected that it will pave the way for a real municipal chorus of healthy, satisfied neighbors, possessed of the community spirit. Helen Kelley, a popular Utican, who has been studying in New York and is now on the concert stage, was present at the “sing,” and her appearance did a great deal toward making it the success it proved to be. Miss Kelley first sang “Christmas Night,” and she was encored twice. Her rich, clear soprano had full sway, and its enthralling qualities an opportunity for
Faithful Unto Death,” from “St. Paul” (Mendelssohn) ; “O Loving Father” (Couperin-Kreisler) ; recitative, “Comfort Ye,” and aria, “Every Valley,” from “The Messiah” (Handel) ; “In My Father’s House are Many Mansions” (Jewell) ; “Come Ye, Children,” from “Prodigal Song” (Sullivan) ; recitative, “And God Created Man,” and aria, “In Native Worth,” from “The Creation” (Haydn) ; also two numbers with the choir, “Behold the Day’s Come” (Woodward) and “Evening Hymn” (Reinecke). Mr. Hackett’s voice is smooth, free and of rich quality, with good pianissimo and fine enunciation. The long passages demanding fine breath control were admirably taken. It would be a pleasure to hear him in an entire oratorio program. The choir sang two numbers—“There Were Shepherds” (Vincent) and “Arise, Shine, for Thy Light is Come” (Shelley)—showing the careful training received under Mr. Fox. The runs in the second numbers were decidedly well done. Mr. Fox was at the organ for all the numbers.
Selma, Ala., January 26, 1922.—The Selma Music Study Club has been exceptionally active this season in procuring for music lovers a series of professional and semi-professional artists, whose concerts have pleased even the most critical. The two concerts given on the regular Artist Concert Course have been presented by Anna Case, soprano, and Vasa Prihoda, violinist. Mr. Prihoda was assisted by Otto Eisen, pianist, and their concerted work in the difficult Schubert G minor (No. 3) sonata was more than impressive. No more delightful artists have appeared before Selma audiences than Miss Case and Mr. Prihoda, and a record attendance was registered for both concerts Mrs. Mabel Powers Taylor, pianist, from the Alabama Girls’ Technical Institute, Montcvallo, was a pleasing addition to the ranks of the visiting artists appearing before the Selma Music Study Club. Mrs. August Rothschild, violinist, with Bella Benish. accompanist, assisted Mrs. Powers. Mrs. Rothschild also contributed.
The January recitals offered by members of the Music Study Club have been attended by a full membership, and also many interested associate members. The programs have embraced works by Bach, Beethoven, Schubert, and many of the modern Russian composers. On the Russian program, January 2, the entire Club joined in the singing of the Russian National Hymn.
On January 18, Annelu Burns, violinist; Blanch Snider Carter, soprano, and Rosa Franz Harper, pianist, were presented in recital under the auspices of the Music Study Club, in a highly pleasing program.
The music at the Selma churches has been steadily improving, and many additions to the various choirs have taken place with the new year. Annelu Burns, violinist; Mrs. L. K. McVoy, organist, and Mrs. George Carter, soprano, have been engaged by the First Baptist Church. Alonzo Meek, organist and choir director of St. Paul’s Episcopal Church, has built up a choir of about twenty voices, with Mr. and Mrs. John Creagh as the leading soloists. Alonzo Meek presented a splendid program upon the dedication of St. Paul’s new $15,000 organ. The set of chimes installed with this organ is one of the most perfect in the south, and Mr. Meek’s rendition of “Jesu Bambino” (Sturges) displayed their beauty effectively. The Church Street Methodist Choir, Mrs. W. H. Striplin director, has been asked to repeat the Christmas cantata, “Bethlehem” (J. H. Maunder), which was so well rendered on Christmas evening. A chorus of fifteen voices will be used.
Springfield, Mass., January 16, 1922.—A Christmas concert was given by members of the Springfield Musical Club on December 27, at South Street Christian Church. The first half of the program was made up of miscellaneous numbers for voice, violin and organ. The second half consisted of excerpts from Handel’s “Messiah.” Among local musicians participating were: Mrs. H. H. Webb, soprano; Mrs. Agnes Parry Williams, soprano; Mrs. W. W. James, contralto; Harry Nelson, tenor; Charles Scholfield, baritone; Nelle Ross, organist; T. Stanley Skinner, organist, and Mrs. W. E. Handley, violinist.
Percy Hernus and Jais company of artists presented “The Impresario” by Mozart, at the Jefferson Theater, on January 6. Mr. Hemus, a former resident of Springfield, received a warm welcome, and the entire company was enthusiastically applauded for its artistic presentation of the operetta.
Anna Pavlowa made her first appearance in Springfield on January 4. The performance was one of the most beautiful and delightful ever witnessed in this city. The audience was unstinted in its applause.
Tampa, Fla., January 15, 1922.—An excellent program was given by the members of the student department of the Friday Morning Musical before the adult club on January 6, and was followed by a reception in their honor. This is the first appearance of the students before the mother club and proved to be an inspiring innovation in this year’s work. A surprising amount of talent was displayed. The Children’s Symphony, by Spindler, under Hulda Kreher’s efficient direction, was a distinct success and delight to the audience. A chorus, “The Sweet o’ the Year,” by Foster, well trained by Mme. Saxby, was much enjoyed.
A delightful recital was given at the Centro Asturiano, for the benefit of the Old People’s Home. The artists appearing on the program were: Hallie De Luca, mezzo soprano, and Maestro De Luca, a graduate of the Royal Conservatory of Naples.
Homer Moore has removed his voice studio to his new apartments on Rome avenue. It is both spacious and attractive in appointments, and his friends are anticipating the pleasure of many musical programs in these new quarters.
A season of Grand Opera has just been completed at the Italian Club extending over a period of four weeks with two performances each week, during which time the following-operas were presented: “Rigoletto,” “Faust,” “Traviata.” “Cavalleria.” “Pagliacci,” “II Trovatore,” “La Boheme,” “Barber of Seville” and “Lucia di Lammermoor.” “Rigoletto” was repeated on January 15 as a benefit ,performance. Remarkable, indeed, were these performances from this standpoint that, with the exception of three visiting artists —Alberto Amadi, tenor; Nino Ruisi, bass, and Lillian Ger-sham, coloratura soprano—these productions were put on by local casts. Very creditable performances were given and many features were especially fine. Such an achievement is possible only because of the large Latin population and
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artists. Studios: 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8537
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MARIE SUNDEUUS Soprano
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