F c b r u a r y 16, 19 2 2 M U SIC AL COURIER 36 well as with fecundity in melodic creation. Good to relate, the composer moves in ways that are grateful to the ear and warming to.the emotions, and he wrote his “Andre Chenier,” luckily, at a time when opera was written for the voice and orchestra, and not against them. “Carmen," February 11 (Evening). On Saturday evening, February 11, “Carmen” was repeated at the Metropolitan with Geraldine Farrar in her familiar role, assisted by Martinelli and Whitehill, and Marie Sundelius replacing Miss Bori, who was unable to sing Micaela owing to continued illness. The performance was a spirited one, the principals being in good voice and spirits, and the “sold-out” house rewarded them with long and continued applause. Sunday Night Concert. Despite the terrific downpour, an audience of large size attended the concert on Sunday evening, February 12. The program opened with a spirited rendition of “Die Meister-singer” overture, Wagner, under the baton of Paul Eisler. Other orchestral numbers were Bizet’s “L’Arlesienne” suite, No. 2, “Sounds from the Vienna Woods,” by Strauss. Mary Mellish sang charmingly the Micaela aria from “Carmen,” and was obliged to respond to an insistent encore. Giulio Crimi followed with “E lucevan le stelle,” from “Tosca,” and in glorious voice, sang with much warmth; as an encore he offered “Ridi Pagliacci,” which gained for him more thunderous applause. Victoria Boshko gave an excellent account of herself in Liszt’s “Hungarian Fantasy,” as well as in her two encore numbers. Other soloists were Jeanne Gordon, Augusta Lenska and Louis Rozsa, all of whom were enthusiastically applauded and deserved to be. Aims of the Music Students’ League The official aims of the newly formed Music Students’ League of New York City are set forth herewith: 1. To form an organization to promote the general interest of the music students of New York City. 2. To hold occasional meetings of the organization for consideration of such problems as every music student must face. 3. To hold other meetings for social diversion and pleasure. 4. To secure the co-operation of managers and established artists. 5. To secure the best instruction available and be able to advise music students concerning courses, etc., by means of an established Information Bureau. 6. To secure better living conditions for music students. 7. To enlist the support of , patrons of music on behalf of worthy and needy students. 8. To promote co-operation of existing musical organizations in the interest of students. 9. To hold occasional public performances by students only. All students interested in joining the League, which is sponsored by Dr. E. A. Noble, J. Fletcher Shera, Leonard Liebling, Emilie Frances Baue!^ Walter Kramer and others, should send their names as soon as possible to Thelma Spear, Secretary, at 605 West 115th Street, New York. Hayden Recital Postponed Owing to the death of her sister, Ethyl Hayden, soprano, has postponed her concert which was to take place in Aeolian Hall on February 14 to Friday afternoon, March 10. METROPOLITAN REVIVES “ANDRE CHENIER” AND GIVES EXCELLENT PERFORMANCE Muzio, Gigli, Howard and Danise Head Cast—Galli-Curci Draws Usual Capacity Audiences, Appearing in “The Barber” and “Rigoletto”—Muzio Stars in “Love of the Three Kings” and Farrar Again the Heroine of “Louise”— “Boheme” and “Carmen” Repeated—A Fine Sunday Night Concert worth as the blind King Archibaldo. Smaller roles in the cast were capably handled by Bada, Paltrinieri, Anthony. Tiffany, Berat and Arden. Moranzoni conducted. “Rigoletto,” February 10. Galli-Curci was the particular star at Friday night’s performance of “Rigoletto,” and indeed a fine Gilda she made. The audience gave her an ovation at every possible chance and especially after her famous second act aria. De Luca was a most commendable Rigoletto, and Chamlee, as the Duke, also shared in the evening’s honors. Rothier was the Sparafucile, Perini the Maddalena, and Moranzoni conducted, replacing Papi at the last moment. D’Angelo had the role of Monterone and Picco the part of Marullo. "Andre Chenier,” February 11 (Matinee). Giordano’s melodious, warmly temperamental, and dramatically arresting opera had a welcome revival amidst all the very familiar routine of “Aidas,” “Butterflys,” and the rest of the regular repertoire at our local temple of operatic art. The following was the “Chenier” cast: .............Giuseppe Danise ............Kathleen Howard ..............Claudia Muzio ...............Ellen Dalossy ..............Mario Laurenti .........Giordano Paltrinieri ............Beniamino Gigli ........Vincenzo Reschiglian ...............Adamo Didur ................Angelo Bada .................Millo Picco ................Flora Perini ..............Paolo Ananian .............Louis D’Angelo .......... Pompilio Malatesta Moranzoni. Charles Gerard..................... Countess de Coigny................. Madeleine, her daughter............ Bersi, a mulatto................... Fleville .......................... The Abbe........................... Andre Chenier...................... Major domo......................... Mathieu ............................ A Governmental Spy.................. Roucher ........................... An Old Woman....................... Fouquier .......................... Dumas ............................. Schmidt, a jailer.................. Conductor—Roberto Giuseppe Danise did a full share of the spirited acting and ardent singing which helped to project the fervid story and music over the footlights so convincingly that the audience was stirred to quite unusual manifestations of enthusiasm. The Danise voice had rich quality and that baritone’s vocal skill made the most of the opportunities for emotional as well as lyrical delivery. Gigli’s tenor tones, seductively soft when required and excitingly ringing at moments of loud stress, are controlled with rare art by that very intelligent singer, and he gained an individual reception of very flattering degree from the pleased auditors. Claudia Muzio, with her richly colored organ, her sympathetic manner of delivery, and her whole-souled participation in the elations and woes of the heroine, gave valuable aid to th'e artistic contributions of the evening. Moranzoni put vigor and exactness into the rendering of the orchestral score, but also he tempered it with taste and flexibility. The Giordano music has much elemental sincerity and strength, and is filled with imaginative orchestral touches as “Barber of Seville,” February 6. On Monday evening, February 6, the Metropolitan Opera House was packed with an enthusiastic audience that came forth to hear Galli-Curci as Rosina, a role in which she is always captivating. Chamlee in this case was the Count of Almaviva, and de Luca took the place of Ruffo, who was indisposed and unable to appear as Figaro. The performance was a splendid one, the principal artists being in fine fettle and each came in for a share of the honors. The famous diva sang and acted with charm and spirit, and especially in the lesson scene was she enjoyed by her admirers. Chamlee in turn revealed his lovely voice and fine style of singing, while Mardones as Basilio, both vocally and histrionically, added to the merit of the performance. Those who were disappointed because of Ruffo’s illness soon resigned themselves to the position and were delighted with de Luca’s capital impersonation of the familiar role. “Louise,” February 8. On Wednesday evening, February 8, Geraldine Farrar repeated her interesting impersonation of the title role of Charpentier’s opera, assisted by Orville Harrold as Julian, Clarence Whitehill as the Father, and Louise Berat as the Mother. Miss Farrar’s work is too well known to need further comment at this time, but it is necessary to say that she was in good voice and gave her best to the role. The audience appreciated her vocal and histrionic efforts and applauded her warmly. Harrold and Whitehill, too, came in for their part of the applause, which was well merited. Others in the cast included Rafaelo Diaz, Laurenti, Ellen Dalossy, Marie Tiffany, Mary Mellish, Alice Miriam, Anna Roselle, Gladys Axman, Myrtle Schaaf and Marie Sundelius. Hasselmans conducted with fine effect. “Boheme,” February 9 (Matinee). At the special matinee of “Bohème” on Thursday afternoon, February 9, Frances Alda replaced Lucrezia Bori, whose continued indisposition prevented her from appearing in the role of Mimi. Mine. Alda counts this among her best roles and her impersonation of the girl of the Latin Quarter again aroused admiration. She was in excellent voice and was well received by the large audience. Mr. Gigli was a splendid Rudolfo, and others handling their familiar parts included Yvonne D'Arie, Scotti, Rothier, etc. “L'Amore dei Tre Re,” February 9 (Evening). A repetition of “L’Amore dei tre re” was given on Thursday evening, February 9, with Claudia Muzio singing Fiora for the first time this season. She did some fine work both vocally and histrionically, her portrayal of the unhappy heroine being convincing in its love and tragedy. Martinelli was an impassioned Avito ; Giuseppe Danise made the most of his lines as Manfredo, and Adamo Didur again proved his ! I v I 1 5J5 I V $ » I I 1 * 1 i 99 i i V I I $ V? $ V I I V p é ivi 1 »? 1 I 1 ■ i 1 1 I •Î*־. ׳<♦־ wkkwssb< $ — D. APPLETON AND COMPANY BEG TO ANNOUNCE THE PUBLICATION OF CARUSO’S METHOD OF VOICE PRODUCTION AN ENTIRELY NEW TREATISE ON THE SCIENTIFIC CULTURE OF THE VOICE ENDORSED BY ENRICO CARUSO. WRITTEN BY P. MARIO MARAFIOTI, M.D., FAMOUS LARYNGOLOGIST AND MEDICAL ADVISER AT THE METROPOLITAN OPERA HOUSE &¥ VANDERBILT , -Veto! û/céMi (j27&t'na{F? May 25, 1921• beer br. ICerafioti: I accept the dedication of your book with pleasure and pride. Through your researches you have disclosed things shout the human voice which restore, in scientific form, the fundamental principles of natural singing, thus giving sn inestimable contribution to the musical world. I, myself, have always felt that something naturel has inspired and guided my art. Therefore, since I share your impressions, let me congratulate you end wish you the full attainment of your noble aims for the benefit of future students of the art of singing. Very sincerely your6, C¿/ A remarkable work, unqualifiedly endorsed by Caruso himself, expounding an entirely new method of natural singing, developed and exclusively used by the world’s greatest tenor. Dr. Marafioti, in addition to being Caruso’s vocal physician, adviser and close personal friend, represents the new scientific professional voice specialist. His work in general, and this book in particular, is also endorsed by such eminent artists as Calve, Galli-Curci and Ruffo. This book presents seven radically new but simple principles which were the foundation of Caruso’s singing throughout his long and successful career. There are more than forty illustrations in the work, comprising color plates, x-ray views, etc., including many of Caruso. Price $3.50, Postpaid THIS WORK WILL BE PUBLISHED of copies from the first edition can be made through any music ABOUT MARCH 15 th, 1922 TJ T־> OTT» T> \T \ rp| AXTO of copies from the first edition can be made through any music iV r;il h; IX V A A A V-r i>| ij or book store in the United States or through the Publishers D. APPLETON AND COMPANY, 3539־ West 32nd St., New York <♦> <♦> <♦> <♦> •»> <♦> »■»Y ■*r <♦>־ V«• <♦> <♦> <♦> ׳׳w:wwmwmwww<♦> <♦> <♦> <♦>