February 2 3, 1922
WHEN WEST MEETS EAST.
Seated in the center is Nellie Cornish, founder and director of the Cornish School of Music, Seattle, Wash,, the most flourishing institution of its kind in the Northwest. The five young ladies are ail graduates of the Cornish School who are now in New York, either for further study or work. Standing, left to right: Emily Keith, pianist; Nellie Patrick, soprano; Ruth Van Veley, dancer. Seated, left: Marjorie Avery, dancer; right: Dorothy Constantine, playwright. (Photo hy Bain News Service.)
the aria “Una Voce Poco Fa,” from “Barbiere di Siviglia,” she revealed a mastery of interpretation. The youthful coloratura soprano sang with a charm that captivated her hearers. Her voice is a pure lyric soprano, flexible, with a brilliant resonance of quality. Besides possessing a voice of beauty, Miss Allabach has a charming personality. Numerous encores were demanded throughout the entire program and the enthusiastic applause followed with presentation of gorgeous flowers. Miss Allabach gives all her credit for her success to her maestro, M. E. Florio, who predicts a brilliant career for his talented artist pupil.
MUSICAL COURIER
as on this occasion. Vito Ca-maroli for Mr. Gigli, and M.
Benditsky for Mr. Piastro, afforded adequate piano support.
Graveure’s Program.
The last of the Friday Morning Musicales for the season, under the direction of Mrs.
Hughes and Mrs. Sanders, found a very large audience to listen to a delightful program of songs and arias by Louis Graveure. Some of the songs were very familiar, others delightful novelties. Mr. Graveure’s art is refined, and he sings with rare taste and distinction. Edward Gendron was an exceptionally good accompanist and played well a group of solo numbers.
Dadmun Sings with Harmonic Club.
J. Powell Jones, conductor, assisted by Royal Dadmun, baritone, and Florence Wasson, soprano, and with Mrs. J.
Powell Jones and Charles Frederic Moore at the piano, gave a concert at Masonic Hall,
January 21.
The Harmonic Club, Cleveland’s only oratorio society, gave the first concert of its twenty-first season to a large audience. During its entire history this club has had the same director, and has retained from year to year so stable a membership that it is able to eliminate from its rehearsals the bane of all vocalists—“grind.”
The first part of the program was made up of miscellaneous numbers, and the second group contained two novelties. The singing of negro spirituals had become a feature of the club’s programs, and this year it repeated the loveliest one of all,
“Deep River,” Burleigh’s arrangement, and “I’m Gwine to Sing in the Heav’nly Choir,”
Milligan. Director Jones has been unusually successful in developing this chorus. The cantata, “Fair Ellen” (Max Bruch), closed the program, with the solo parts sung by Miss Wasson and Mr. Dadmun. Mr. Dadmun also sang four groups of songs. His work is so well known that comment is unnecessary. His diction, however, seemed more perfect, the support at the piano was all that could be asked by singer or chorus.
Hutcheson Affords Audience a New Thrill.
It is quite safe to say that well and favorably known as M-r• Hutcheson is to the Cleveland concert going public, he afforded even his warmest admirers a new thrill in his recital Tuesday afternoon in the “Five Great Artists’ ” concert course, under the auspices of the Fortnightly Club. One associates with Mr. Hutcheson the highest type of musicianship, and a faultless technic. He certainly outplayed himself on this notable occasion. His performance has become an outstanding topic of conversation in musical circles for this season of pianistic feasts. He played two of his own compositions—a prelude and a caprice
M. B. P.
Mrs. Richards Visiting New York
Mrs. George Richards, of Duluth, Minn., who has brought all the important musical attractions to that city for many years past, is in New York this week arranging plans for next season. Mrs. Richards reports that her Duluth course has been a success, both artistically and financially this season, notwithstanding the general depression in the concert business. She has extended her field in the last two seasons to cover the smaller cities in the mining district north of Duluth. Virginia, Minn., has a fine new auditorium, m which successful courses, directed by Mrs Richards and under the auspices of the Kiwanis Club, have been held this season and last. At the end of her New York visit Mrs. Richards will go to Florida for a month before returning home.
Schumann-Heink’s Portland Concert “Overwhelming”
Word comes from Portland, Ore., that Mme. Schumann-Heinks recent concert in that city was “overwhelming” 1 he house was packed to the doors with over 500 seats on the stage. Finally the police were forced to refuse any more people to enter, which caused hundreds of disappointed music-lovers to be turned away. With every available space for seats taken, all records for receipts at the Municipal Auditorium were broken.
RACHEL ALLABACH, soprano.
Rachel Allabach’s Success
Rachel Allabach, the young gifted Toledo soprano, sang at the fashionable Toledo Club February 3, and created a splendid impression. A gathering of the Exchange Club members, which embodies the spirit of the national organization of Exchange Clubs, crowded the spacious hall to overflowing. All came anxiously to hear the gifted young artist sing׳ and indeed she sang beautifully.
• Thu•	was “The Wren,” Sir J. Benedict,
m which Miss Allabach completely won the large audience In her rendition of the “Bell Song,” from “Lakme," and
38
CLEVELAND IS DELIGHTED
WITH CHALIAPIN’S SINGING
St. Olaf Choir Strengthens Impression Made Last Year— Bachaus Exceeds Expectations—New York Symphony and Coates—Anna Case, Gigli, Piastro, Graveure, Dadmun and Hutcheson Among Visiting Artists
Cleveland, Ohio, January 30, 1922.—It seems a far cry from a strike of milk-delivery drivers to a concert by a grand opera star, but that is what brought Chaliapin to Cleveland. Mr. Wanetick, owner of a chain of dairy product depots, so profited by excess business thrust upon him by a strike of the employees of a rival concern, that he determined to bring Chaliapin to Cleveland. He went to New York, and finding the great singer’s manager, made known his intention. “I want to do this for Cleveland, but I don’t know how to manage it,” he confessed. It was a coincidence that Adella Prentiss Hughes, manager of the Musical Arts Association, was ,in the manager’s office, and it was then arranged that Mrs. Hughes should present Chaliapin in Cleveland. All established precedents for enthusiasm were outdone on the occasion of Chaliapin’s first appearance. As the blond Russian giant strode out upon the stage, the whole house rose to him, shouting some word in Russian that sounded like “Zum! Zum!” as if some giant kettledrum had been struck. The word, it was explained to the writer, meant “praise.” The applause was stupendous. One rather feared disappointment after reading accounts of his eastern triumphs. One feared that while in opera he might have been as successful as reported, but that in concert he could not measure up to such extraordinary heights. But he more than made good. In presence, in interpretation, and in voice, he was equally great—a superlative artist! From his repertory of seventy-one songs he chose some fifteen. It is in the songs of dramatic intensity and tragic import that he excels. His interpretation of Schumann’s “Two Grenadiers” so aroused the house that he was moved to utter a sharp word in Russian, which stilled the tumult as if by magic; but the greater magic of his smile withdrew any sting from the word which proved so effective. A noble ballad, “When the King Went Forth to War,” and “The Prophet” of Rimsky-Korsakoff, marked the peak of artistic performance. One can never forget an experience of such dramatic fervor. Josef Stopak, violinist, proved to be a player of fine attainments, who was received with enthusiasm. Leo Berdichevsky accompanied excellently.
St. Olaf Choir Strengthens Impression of Last Year.
Last year the St. Olaf Choir made its first visit to Cleveland, and so great was the impression then created that its return visit was eagerly looked forward to by all lovers of choral singing. Certainly no boy choristers could ever sing with the fine intelligence of these young women. And the exquisite delicacy and youth of their voices have been preserved. After hearing the Harvard Glee Club and the St. Olaf Choir, one feels reassured as to the sanity and power of our under-graduates. Dr. Davidson and Dr. F. Melius Christiansen, the directors of the respective organizations, are setting a standard that must be met by the other institutions of learning. These singers of beautiful music will always be welcomed by a full house.
Bachaus Exceeds Expectations.
Cleveland had heard of the ability of Bachaus, but few were prepared for the superlative performance offered by this master pianist in the Bernhardi concert course, January 8. Mr. Bachaus opened the concert with a Beethoven sonata, a work all the more gratefully received because so seldom heard. His playing of the G sharp etude was a revelation of technical ability that was marvellous in its clarity and perfection. Mr. Bachaus is a master of technic, and brilliant to a degree seldom attained. Assisting artists were Lydia Lipkowska, Russian soprano, who sang well, and Vincent Ballester, baritone of the Chicago Opera, who sang two groups of songs and operatic arias. There was enthusiasm enough to go round, and both singers were well received.
The New York Symphony and Coates.
The New York Symphony Orchestra, last heard under the excellent direction of Walter Damrosch, was a transformed body under the forceful baton of Albert Coates, the much heralded English director. For the performance of “The Planets,” by Gustav Holst, six kettledrums were used in the first section, “Mars,” two of which were borrowed from the local orchestra, and so furiously did the drummers beat them that the heads of both drums were broken. Five men were kept busy on the percussions, !and four of them were constantly beating drums. Now that the tumult has died, it is far from pleasant to have so realistic a presentation within the confines of four walls, however widely placed. The other sections were in a lighter vein.
Anna Case with Friday Morning Musicale. Following the delightful vogue of period costumes which obtains on the concert stage, Anna Case appeared in a rich red velvet Spanish gown at her concert, January 13, with the Friday Morning Musicale. She made a lovely picture. Her songs were chosen with unusual success as to variety and contrast, and she surprised her many friends by appearing in the role of composer, as well as interpreter of song. Her voice, lovely in sustained passages of lyric style, responds equally to the demands of songs of dramatic content or the old coloratura style. Miss Case’s group of French songs was unusually attractive. Mr. Lifshey, the assisting artist, is first viola player of the symphony orchestra, and has been little heard as a soloist outside of the symphony concerts. He plays remarkably well and was cordially received. Arthur Shepard was his very competent accompanist.
Gigli and Piastro.
Beniamino Gigli gave an interesting concert here on January 16. The advance notices regarding the art of this singer were not exaggerated; he is indeed a great artist. His tone is of a compelling warmth and smoothness; he possesses vitality and an irresistible spirit, and his contributions to the program were operatic arias only. The enthusiasm of the audience knew no bounds, and he was recalled numerous times. Mishel Piastro, Russian violinist, shared honors with Gigli. Piastro is favorably known to Cleveland audiences, but he never played so well