February 23, 1922
MUSICAL COURIER
18
Another Prize
Fort Worth, Texas, February 14, 1922.
Announcement has just been made by the Harmony Club of this city that it will offer a prize of $500 at the next biennial of the National Federation of Music Clubs for the best one-act opera of American composition presented. The offer is made as_ a recognition of the services to the cause of music given by Mrs. John F. Lyons, president of the National Federation of Music Clubs, who for the last seventeen consecutive years has been president of the Harmony Club. It is to be known as the Lucile M. Lyons Award.	L. B. M.
Elly Ney Answers Question
Elly Ney has answered the question which has pursued her ever since her American debut: “Why does Mme. Ney play with the lights lowered?”
Mme. Ney’s explanation is simple. Years of practice over brilliantly illuminated keyboards affected her eyes, and the glare from the white keys is trying. Hence she has the lights dimmed. And that, she maintains, is the whole of the reason.
“I do not believe in theatrical effects,says Mme. Ney, “and I hope that no one will regard the dim lights as stage effects. I have often said that the performer should not intrude on the music, and the only reason for the low lights is to avoid the glare.”
Althouse Captures Portland Again
Not content with his success in the Oregonian- city last season on January 16, Paul Althouse returned there m concert and, in the words of the Telegram, “captured his audience with his first number.” The performance was the fourth of the season given at the Auditorium under the direction of the Elwyn Concert Bureau and ‘ drew the largest attendance of the season, as Mr. Althouse is a favorite tenor in this city, having won golden opinions at a previous concert”—to quote the Morning Oregonian.
Forty Concerts for Otis
Florence Otis, soprano from Claude Warford’s studio, has been engaged for a series of forty concerts between February 1 and April 1, the tour embracing appearances at Quebec, Troy, Detroit, Toledo, Ohio and other Western cities. Miss Otis’ assisting artists are Pauline Watson, violinist, and Marion Tilden, pianist.
Pattiera Sings in Louisville
At his recital in Louisville, Ky., on February 8, Tino Pattiera, tenor of the Chicago Opera Association, sang arias from “Tosca,” “La Bohème,” “Pagliacci, Manon, and a group of Neapolitan songs. Frederick Cowles was at the piano.
SUCCESS IS A MATTER OF BRAINS
CONTENDS JOHN CHARLES THOMAS
The Tenor, When Interviewed, Says He Cannot See Why Any Singer Should Blame a Teacher for Ruining His Voice—Gives
Up Light Opera for the Concert Stage
and I gave a concert in Boston on New Year’s Day. I will have four concert appearances in Boston this season, and I sing in Newark this month.
“In the summer I hope to be able to go to France, if business engagements permit, tc get a few finishing touches from Jean de Reszke—the great Jean. Then, in the fall, Air. Johnston is going to send me out on a tour. Yes, it is really true that I am giving up the light opera field— have already given it up in fact. There are other things.
JOHN CHARLES THOMAS
“Now I must run along. Sorry, but I have to catch a train. I’m singing a few songs in vaudeville over in Philadelphia and have to get back for the matinee. Yes, straight singing—regular concert work. That can be done in vaudeville just as well as at Aeolian Hall. _ And the vaudeville audiences like it better than when a singer tries to do stunts. They think that shows contempt for them, and I am inclined to agree with them.”	P.
JOHN CHARLES THOMAS was caught at the office J of R. E. Johnston between trains and gave out a very brief interview concerning his plans. He came over from Philadelphia, where he is now playing, and had to hurry away again for the matinee. Meantime, he had many things to discuss with Mr. Johnston, under whose management he will tour America in concert next season, and could grant the interviewer only a very few minutes of his time. Asked if it was true that he was giving up the light opera, in which he has been so eminently successful, for the concert stage, Mr. Thomas acknov/ledged that he was.
“It is a larger field,” he said, “with more opportunity for the expression of one’s artistic feeling, and what brains can do in one field, brains can do in another. It is largely a matter of brains. I can not see how any singer can blame a teacher for ruining his voice. If he has not got enough brains to avoid doing foolish things with his voice, he would certainly not have brains enough to succeed anyway.
“The days when just a mere voice is all that a singer needs are long gone by—if they ever existed. Why, even the seemingly insignificant matter of getting on and off of the stage needs brains. And where do you get stage presence without thought and study? People are inclined to underrate the importance of these things, but they are of great importance, and even some of the great artists would have a greater success with the public if they would consider it. An awkward manner never gets anybody anywhere.
“Some people put voice first. I do not. Voice is a necessity, but you may have a wonderful voice and yet fail utterly unless you have something else besides. Brains, personality, voice—that’s the order I put it in, for with brains and personality you can get by with a very small vocal equipment, and if you have that, too, then you will be one of the great ones.
“Where did I get it? Well, I studied right here in this country for the most part. I am an American, born in Meyersdale, Pennsylvania. I studied with Adelin Fermin at the Peabody Institute in Baltimore, and went with him to Holland, The Hague. Fermin is a great teacher. He is now with the Eastman School at Rochester. At Peabody I won a scholarship, and while in Baltimore I sang at some of the leading churches. Then I joined Savage's “Every-woman,” where I may be said to have made my professional debut in the role of Passion. Then there was a revival of the Gilbert and Sullivan operas by the Shuberts and I sang the principal baritone roles in all of them.
“Afterwards there was a whole series of light opera successes : ‘The Peasant Girl,' ‘Her Soldier Boy,’ ‘Alone at Last,’ ‘Maytime,’ ‘The Stargazer,’ ‘Apple Blossoms,’ ‘The Love Letter.’ I have done some concert work, also have sung for the Mozart Club and Haarlem Philharmonic,
sented on tour next season, William Wade Hinshaw sought a soprano who combined a beautiful lyric voice, perfect diction and sound musicianship with a winning stage presence, youth and personal charm.
HE soprano who met all of these requirements was
Irene Williams
EFORE and after the tour, Miss Williams will be available for concert engagements. A few dates for this Spring are still open.
Exclusive Management
International Concert Direction, Inc.
MILTON DIAMOND, Director
16 West 36th Street	New York City
IRENE WILLIAMS
Records
For Brunswick Records Exclusively