37
MUSICAL COURIER
February 16, 1922
MARY GARDEN TRIES 4SADDIME^ AGAIN"	Her success last year abroad, particularly in Paris, there-
------------ fore must have been gratifying to Rose Florence to know
This great Pianist, now appearing, is ing vast audiences with her superb
delight-
artistry
ELLY NEY HAS SELECTED THE
FOR HER EXCLUSIVE USE ON HER AMERICAN TOUR
CHICKER1NG i־f SONS
AMPICO RECORDS
BOSTON, MASS.
“Tannhauser," February 8.
As the niece of the Landgrave in Wagner’s romantic opera, Rosa Raisa carried herself with becoming dignity and authority, and as the saintly and appealing heroine whom the character represents, she expressed tenderness and sweetness in her acting. It is a role in which one easily might appear cold or too little actuated by human impulse, but Mine. Raisa found exactly the proper balance between the various elements represented in the part. Vocally she was impressive in the highest degree, her tones ringing clear and true, her delivery being full of temperamental drive and yet under utmost artistic control, and her style and phrasing, in the Wagnerian manner, leaving nothing to be desired. She scored a truly inspiring triumph with the audience.
Richard Schubert was the Tannhäuser of the occasion, and revealed in his performance all those qualifications which have been made the subject of previous comment in the columns of this paper, and which need no further discussion or amplification at this time. Joseph Schwarz, the Wolfram, was in a role which he adorns admirably, as was to be expected, and he put into it a wealth of warm expressiveness, musical understanding and vocal beauty. Others in the cast were Edouard^ Cotreuil, Theodore Ritch, William Beck, Octave Dua, Constantin Nicolay, Cyrena Van Gordon (a most bewitching and vocally alluring Venus), and Jeanne Dusseau. Angelo Ferrari conducted.
“Rigolftto,” February 9.
It looked for a time as if the Chicago repertory would have another overturn on account of the illness of Tito Schipa, who was to sing the Duke in “Rigoletto,” but Tom Burke, unattached, was hastily drafted and a fine performance of the role he gave, too, proving that his unfortunate experience of last season was due to the impolitic way in which he was introduced to America and in no way to his own lack of ability. Burke’s voice, light and agreeable, with a lot of vitality, was in splendid shape and he handled it with greatest ease and assurance. The audience liked him from the start. “Questa o quella” went smoothly, the duet in the second act was full of vigor, and after “Donna e mobile’’ the show had to stop until the audience tired of applauding. Burke’s unexpected debut was a most distinct success and must have been a great satisfaction to himself as well as his hearers. Edith Mason was the Gilda. It is a long time since such vocal opulence and beauty has graced the role in New York. Verdi prevents Baklanoff from forcing the title role and in consequence he sings better than in most roles. His acting is thoroughly dramatic, although his huge figure scarcely suggests the hunchback jester. Lazzari was a deep-voiced Sparafucile, and Irene Pavloska made a sprightly Maddelena. Polacco brought out every beauty of the classic, if venerable, score. All in all it was a distinctly notable performance.
“Salome,” February 10.
The repetition of Strauss’ opera brought no features that departed in any way from the previous production. Again Mary Garden did the leading role with a prodigious expenditure of physical energy and an adequate degree of agreeable singing. Dufranne once more was a sonorous Johanaan, and Martin voiced and acted Herod in a competent even if not remarkable manner. Giorgio Polacco was a host within
Second Performance Here Draws a Smaller Audience—“Louise” Given Without the Sewing Room Scene—’“Tannhäuser” Arouses Much Enthusiasm—Illness of Schipa Gives Tom Burke a Chance to Score in “Rigoletto”—“The Girl”
Brings New Ovations for Raisa—“Lucia” Gets Fine Performance
ROSE FLORENCE,
at the age of ten, when she appeared as Queen Esther in the cantata of that name and made an excellent impression with her audience, along with some eighty little girls, under the direction of Mrs. It. W. Bland. (Siegel, Cooper & Co. photo, Chicago.)
that she had not made a mistake in changing her art. Owing to this European success her New York debut is awaited with interest.
Current Engagements for Reviere
Berta Reviere, the soprano, was soloist with the Minneapolis Symphony Orchestra on February S. Three of her recent and forthcoming dates are February 10, Syracuse, N. Y.; February 16, Hotel Astor, New York; February 23, Waldorf-Astoria Hotel, singing for the Emma Willard Association.
“Traviata,” February 6.
Somebody—two or three somebodies, as a matter of fact —was ill Monday, so instead of the promised and long-awaited “Love for the Three Oranges” there was a hurried “Traviata.” Lucky for Miss Garden that she had so reliable a cast as Mme. Pareto, Schipa and Schwarz to fall back upon. Mme. Pareto confirmed and strengthened the impression she made in the same role ten days earlier, on the occasion of her New York debut. She is a coloratura of the very first rank. Always in the middle of the pitch, she tosses off all the fireworks that fall to her with an absolute lack of effort that is impressive. The voice itself is delightful in quality and she makes the most charming picture imaginable, especially in the costume of the second act. She was a great favorite with the audience. Schipa gave the Alfredo with his usual finished art, and Schwarz was an impressive Giorgio. The other roles were in competent hands. Angelo Ferrari conducted.
“Louise,” February 7.
Charpentier’s “Louise” brought back Mary Garden in one of her best roles. In splendid fettle, she surprised her most sanguine admirers by the beauty of her singing, especially the aria, “Depuis le Jour.” Her portrayal of the role is too well known to New York audiences to need comment. As ever, it has its excellent and bad points. Ulysses Lappas was heard for the first time here as Julien, and judging from the many musical errors committed by the youthful Greek tenor, he needs further study of the part to bring it to the level of his Dick in “The Girl of the Golden West” and of his Canio in “Pagliacci.” As it is, his Julien is vocally, as well as histrionically, uneven. George Baklanoff was surprisingly good as the Father, and his makeup was capital. Marie Claessens was more than satisfactory as the Mother. Especial word of praise is due Paul Payan, who sang with stunning effects the few lines allotted to the Ragpicker. Likewise Nicolay made his small role come out effectively. Due to the illness of Octave Dua, the role of the Noctambulist was entrusted to the reliable Desire De-frere, and also due to the indisposition of Mojica, the King of the Revels was sung by Theodore Ritch, who acquitted himself very creditably.
It was a pity that the Sewing Shop episode was omitted, as this scene is one of the most interesting in the opera. It was explained that the same scene was omitted in Paris, as during the war all the machines were mobilized. This lame excuse on the part of the management hardly is believable,^ inasmuch as only one machine is used, and the Singer Sewing Machine Company is still doing mighty well. It might be that this scene was not presented because lack of rehearsals made the omission imperative, for even though the sewing shop girls were still named in the program, only a few, so it is said, knew their roles. Gabriel Grovslez, the new French conductor, had his forces under good control, and with his orchestra gave excellent support to the singers.
himself as the conductor. Every detail of the score was under his control and he made the orchestra tell its wonderful story with graphic force and eloquent tbuches of color, accents and dynamics. He received and deserved an ovation.
“The Girl of the Golden West,” February 11 (Matinee).
Once again Raisa proved her remarkable talent, both as singer and actress, in “The Girl of the Golden West,” repeated February 11 to a crowded house. Such singing and acting is indeed a luxury nowadays; she was superb. The Greek tenor, Ulysses Lappas, was the Mr. Johnson (he seemed to be suffering a wee bit from a cold), and Rimini the Sheriff, indeed one of his best roles. Polacco was again at the conductor’s desk and shared in the honors of the evening.
“Lucia di Lammermoor,” February 11 (Evening).
The Chicago Opera presented “Lucia” for the first time this season at the Manhattan Opera House on Saturday evening, February 11. It was a splendid performance as would be supposed with two such sterling artists as Graziella Pareto, in the title role, and Tito Schipa, as Edgar, assisted by Vincente Ballester as Lord Ashton, Jose Mojica as Lord Bucklaw, Constantin Nicolay as Raymonde, and Oliviero as Captain of the Guards.
Mme. Pareto sang her lines beautifully, with a tonal quality of such a sweet and clear quality as to arouse her hearers to much applause. In appearance and action she was also most satisfactory. Mr. Schipa must count the role of Edgar among his best for in it he reveals his excellent voice and his refined style of singing—the fast dying out old Italian way, flowing and lovely legato. His acting, particularly in the last scene, was very impressive. He, too, came in for his share of the honors. Cimini at the conductor’s stand, did his best, making the performance the worth-while one that it was.
Rose Florence’s New York Debut February 21
Rose Florence, who will make her first appearance in New York at Aeolian Hall on Tuesday afternoon, February 21, began her musical career as ■a harpist at the age of eleven. She had a sister who was studying voice, so her mother and father decided that the younger daughter should take up the harp. However, this instruction did not appeal to her nearly so much as singing, but she studied it until she was sixteen or seventeen years old, practicing diligently three hours a day. She used to rise a half an hour earlier each day so as to have her lesson before going to school. Finally little Rose Florence took matters into her own hands and also began the study of voice.