MUSICAL COURIER
February 16, 1922
Patterson Opera a Poetic Allegory
Musical America of January 28 published the following notice of the first opera to be selected for publication and production under the auspices of the Opera in Our Language Foundation, of which Mrs. Eleanor Everest Freer is founder and president:
A Poetic Allegory.
“The first American work selected by the committee was the one-act opera, ‘Echo,’ by Frank Patterson. The libretto, in poetic prose by the composer, bears a symbolic significance as a story of the struggle between man and the will-o’-the-wisps of temptation. In a cave on the shore of an island inhabited by the malign Echo-Folk, typifying destructive desires, Acantha, a shipwrecked girl, awaits deliverance. Theudas, a wanderer, is cast upon the isle, and an exchange of confidences culminates in a declaration of mutual love, embodied in a duet. The denizens of the place, however, led by Yfel, queen of base desires, and Cunnan, lord of evil counsel, conspire to detain the pair. A cup of wine, symbolizing surrender, is placed before the hero, and an interpolated bacchanale depicts the charms of a life of pleasure. Acantha dashes the cup from his hand, and the brilliant scene is instantly transformed to one of ruin. The opera ends with an orchestral finale, as the lovers launch their boat to leave the isle.
“The music of the score is modern in style, with contrapuntal passages. The leit-motif system is used in some degree, particularly to typify the principal characters. The chorus has an important part as narrator, and there are arias and concerted numbers in the score.
“Mr. Patterson was born in Philadelphia and studied in Munich with Ludwig Thuille. He is associate editor of the Music!al Courier and is the author of a work on the leit-motifs of the ‘Nibelungen Ring’ and of a primer in harmony, ‘The Perfect Modernist,’ soon to be issued.”
Springfield Applauds Siemens and Willeke
Springfield, Mass., January 26, 1922.—A delightful program was given January 25, at the Auditorium by Frieda Siemens, pianist, and Willem Willeke, cellist, for the benefit of the Springfield Y. M. C. A. College. The program opened with the Hoschke sonata, op. 28, which was written for and dedicated to Miss Siemens, a fact which lent additional interest to its presentation. Two other numbers by the same composer, “A Tragedy” and “Danse Bacchanale,” were also among Miss Siemens’ contributions, together with numbers by Schumann. In conjunction with Mr. Willeke she was heard in the Strauss sonata, op. 6. Mr. Willeke also pleased in the Servais arrangement of a ' Schubert fantasie.
Franklin Riker Has Two Glasses
Franklin Riker, tenor, who is kept constantly busy with his two classes, one in New York and the other in Philadelphia, will not give a recital in New York this season, but will sing a program at Witherspoon Hall, Philadelphia, on the evening of March 18, postponing his. annual New York recital until next fall.
new prize will be given this year by the University Glee Club of New York, which sponsors these contests. The increasing interest in the competitions is shown by the fact that in 1914, when they began, only four colleges were entered. The list has this year grown to ten, with additional entries also received from far western universities, only the distance from New York possibly preventing their competing. These glee club contests are under the direction of the Intercollegiate Musical Corporation, Albert F. Pickernell (Brooklyn) president, the purpose of the competitions being to encourage choral singing in American colleges. In line with this same work, the University Glee Club will sing with the Yale Glee Club at New Haven on February 21, in celebration of Yale Alumni Day.
Activities of Goodhue Artists
Pupils of Anne L. Goodhue, vocal teacher of Washington, continue their successful public appearances. Tom Cantwell sang before 2,000 persons at a reception for the new Archbishop given by the Holy Name Society, and was so well received that he was compelled to give several encores.
Estelle Murray will have the prima donna role in “Mile. Modiste” at the forthcoming production by the People’s Opera Company. Miss Murray sang and danced at the annual banquet of the Board of Trade. Mr. Fitzgerald, another pupil from the Goodhue studio, will sing the tenor role in “Mile. Modiste.”
Mr. Atherholt and George Myers, soloists respectively at Waugh Church and the First Congregational, do much Masonic work as well as singing at many local affairs. Mrs. Hendrick is preparing for grand opera with Mrs. Goodhue.
Prince Gagarine, formerly of the Russian Embassy, who took lessons daily for eighteen months from Mrs. Goodhue, writes from Brussels that the teacher with whom he is now coaching pronounces his singing “magnificent.” Bertha Bennett, a mezzo of sympathetic quality, often sings for the Cornell College Society, and her work there is much admired. Many people go to the Holy Trinity Church in Washington in order to enjoy the fine singing of Agnes Whelan.
“Rigoletto” Given by Aborn Students
Audiences comfortably filling the Aborn Miniature witnessed performances of “Rigoletto” in that theater January 31 and February 1, Leonard Liebling, editor-in-chief of the Musical Courier, delivering an address on the first evening. The name role in the opera was performed by Leo de Hierapolis; he did some splendid singing, showing marked improvement in his tone coloring, and his acting especially stood out. Norma Bellini sang Gilda in place of Ethel Harrison, suddenly ill; her voice is a true coloratura, and she acts well. Victor Pranski, tenor (the Duke), has real grand opera style, and as his voice warmed up he made a good impression by his singing of “La Donna e mobile.” Others in the cast to whom praise could be given were Pierre Remington, Nils Ericcson, Louise Metzger, Ethel Spaulding and Helen Husband. William J. Falk at the piano was a delight in his fine support of the singers.
14
MILAN SUPPORTING
TWO OPERA HOUSES
While the principal interest is centered upon the reopening of the Scala, the Teatro dal Verme, which has supplied Milan with good opera all through the “lean years,” is continuing its activity and claiming a good share of the public’s attention. It opened its “carnival season” with an excellent performance of Rossini’s “Barber,” whose charm is unfaded and whose grace as fresh as ever, and this masterpiece draws crowds today as it did a century ago.
The present performance, besides being a homage to Rossini, turned out to be a personal triumph for Nadina Légat, who, as Rosina, recalled to memory such distinguished predecessors as Barrientos and Hidalgo. She earned tremendous applause with her wonderful singing. Her vocal agility and her perfect emission, accuracy and clear enunciation were worthy of the highest praise. After the great cavatina, after the lesson scene, and at every fall of the curtain she was recalled innumerable times.
The Figaro of the occasion, Fregosi, was remarkable for a powerful voice and plenty of wit. The tenor, Barsotti, very young and full of promise, was especially applauded in the first act. The Don Basilio of Serra was marred by vulgar mannerisms, and the rest of the cast was acceptable. The orchestra was ably conducted by Lucon, who was vigorously applauded, especially after his brilliant- rendition of the overture.
Dedicated to D’Annunzio.
The outstanding event in the concert world was the first performance in the Conservatory auditorium of a symphonic poem, “Carnaro,” by Padre Bernardino Rizzi. A message from Gabriele d’Annunzio, to whom the work is dedicated, was read at the concert, and a medal, especially coined for the purpose, presented to Rizzi and Rito Selvaggi, the conductor of the orchestra. The proceeds of the concert are to go toward a votive lamp dedicated to the soldiers who fell in battle. The work and the performance were warmly applauded. The Rizzi work was succeeded by a symphonic poem of A. Bazzini, which also had a cordial reception.	Arturo Scaramella.
Ten Colleges Enter Glee Club Contest
The singing ability of ten eastern colleges will be judged on March 4 at Carnegie Hall by Dr. Walter Damrosch, conductor of the New York Symphony Orchestra; Henry Hadley, composer and conductor, and George Cbadwick, director of the New England Conservatory of Music. Entries have been received from Amherst, Columbia, Dartmouth, Harvard, New York University, Penn State, Princeton, University of Pennsylvania, Wesleyan and Yale.
In order that the'singing ability of the various glee clubs may be fairly judged, all the clubs, in addition to their individual contributions to the program, will sing the same prize song, “Give a Rouse,” by Bantock, a difficult enough selection to bring out the best ability there lies in our collegiate singing organizations.
Harvard having won for the third consecutive time last year and having carried off the previously offered cup, a
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