March 2, 1922 MUSICAL COURIER 8 FANNY HELDY, donna and horsewoman. The famous Jockey Club of comes into prominence every once in a while by re-to do something. Once it created a sensation by re-to listen to Wagner's “Tannhäuser״ at the Paris ; and to Fanny Heldy, a favoi'ite singer at this same it has just refused a jockey's license, although Mile, is the owner of a stable of race horses and is a fine rider. FANNY HELDY TELLS WHY SHE WAS REFUSED A “JOCKEY LICENSE” IN PARIS Prima Donna Soprano of the Paris Opera Is Interviewed by Musical Courier Correspondent—The Irish Cultural Congress —Too Much Honor—Other News of Interest prima Paris fusing Opera house, Heldy Charles Silver, winner of the Prix de Rome. It is quite original, often melodious, although sometimes it does not follow exactly the requirements of the book. It is at its best in the ballet of the second act. The opera was excellently produced by Director Jaques Rouche. Costumes and scenery were brilliant. Marthe Chenal was the Catharina, held its opening session January 23 in the Salle des Fetes of the Hotel Continental in Paris. The Congress is nonpolitical and is limited to cultural subjects. The first day of the Congress was devoted to lectures on Irish history by Prof. Evin MacNeill; on the Irish Theater by W. B. Yeats, the Irish poet and author, and on the Irish Overseas by the Rev. D. Reilly, of Australia. A concert was given in the evening, the outstanding feature of which was the first performance of a string quartet by an American composer, Swan Hennessy, of Rockford, 111. The quartet is dedicated to the memory of Terence MacSwiney, Lord Mayor of Cork, one of the martyrs of the Irish cause who died in consequence of a hunger strike while a political prisoner. The quartet depicts the long, heroic suffering of the martyr, his gradual weakening and end. Its brilliant finale expresses the hope and faith in the glorious future of the new Ireland. The composition was admirably played by Arthur Darley’s quartet from Dublin. Its members were Mr. Darley himself, (Miss) Terry O’Connor, G. H. Brett and J. Schofield. Fay Sergent, soprano, and Michael Gallagher and Gerard Crofts, baritones, sang a number of folk songs and ballads. Splendid piano accompaniment was played by Josey Ahearne. Too Much Honor. In connection with the tercentenary celebration of the birth of Molière, Robert de Fiers, president of the society of the dramatic authors, has proposed to change the name of the “Avenue de l’Opera” to “Avenue de Molière.” A storm of protest broke forth that culminated in a banquet given by the merchants of the street, who invited the representatives of the Ministry of Commerce, the municipality and the newspaper men. The merchants told their guests that they believe in glorifying Molière, but they think that it could be done without causing considerable damage to the merchants and great inconvenience to their customers by changing the name of the principal thoroughfare of Paris, known by the name of Avenue de l’Opera the world over. Judging from the spirit of those present, the name will not be changed. New Work for Violin. At the Theatre du Châtelet, Saturday afternoon, January 21, the Colonne Orchestra, under the direction of Gabriel Pierne, presented for the first time Edouard Mignan’s “Andalouse,” for violin and orchestra. It is really a violin solo with orchestra accompaniment based on Spanish themes, a fine show-piece for a violinist without much musical worth. It was played by Mile. Fernand Capelle with pure intonation, big tone and splendid technic. Concerts. Sunday, January 22, at the Salle des Agriculteurs, Mme. Gabrielle Gills, well known in America, gave a concert ■ V.. . ELAINE KENNELL, American soprano, as Thais. Mr. Rouard the Petruchio and Mr. Huberty the Baptista. Henry Busser conducted the orchestra admirably. An Operetta Favorite Dies. Although retired from the stage in 1893, Mme. Theo, who died here last week, is well remembered by Paris theater goers. She was the greatest star of the Parisian operetta. She was born in Paris sixty-eight years ago. Her mother owned a small cafe concert on the Champs Elysees. Mme. Pianists Prepared for Piblic Appearances Paris, France SWAYNE WAGER 33 Avenue Montaigne, I irCrUCTI7FV institute LLOlriL 1 !¿״IVI of Piano 47 Boulevard Berthier, Paris, France Under the personal direction of MME. THEODORE LESCHET1ZKY . (Marie Gabrielle Leschetizky) John Heath, Associate Director. Artists' Class and Private Lessons. devoted to Brahms, Debussy and Schubert. Her warm voice, beautiful style and intelligent interpretation won for her a well merited success. She was assisted by L. Boni. Arthur Kraeckman, the young American baritone, was warmly applauded, January 22, at the concert given by the American Women’s Club in Paris. The most interesting number on his program was Alan Seeger’s “I Have a Rendezvous with Death,” the music being by a Chicago composer, W. H. Knapp, with whom Mr. Kraeckman studied before coming to France. Pope’s Death Causes Postponement. The Grand Gala, announced to be given at the Opera, January 26, by the singers of the patriarchal basilicas of Rome and the Sistine Chapel of the Vatican, under the direction of Monsignore Casimir¡, assisted by the joint orchestras of Colonne and Lamoureux, under the baton of Henri Morin, was postponed indefinitely owing to the death of Pope Benedict XV. Ginsbourg Has Eccentric Novelty. Some strange works are announced by Director Ginsbourg for the opera season at Monte Carlo, which will begin January 31 and last till Sunday, April 16. Among these are “Athena,” a Greek work written four centuries before the Christian Era, and the “Song of Songs,” both words and music of which are supposed to be the work of King Solomon. Other works to be produced this season are “Amadis,” by Massenet, and “Les Noces Tragiques,” by Cartagi. Another Shakespearean Opera. “La Mégère Apprivoisée,” with a libretto adapted from Shakespeare’s “Taming of the Shrew,” was given its repetition generalé at the Opéra January 26. The music is by Paris, January 31, 1922.—American press agents will turn green with envy when they see the story of Fanny Heldy, prima donna soprano of the Opera, that is getting more space in the Paris press than the New York papers print of all the doings of “Our Mary.” The “story” is really a very simple one. Adorable “La Heldy” applied for a “jockey license” and was turned down. What injustice! “Why?” asks Le Matin as the all-important problem of the day. “They issue our women licenses to drive a motor car or to pilot an aeroplane; why should they refuse them the jockey license?” I went to see this popular singer today. She received me in her sumptuous apartments in the Avenue du Bois de Boulogne. I expected to find her in a jockey costume, but she was dressed in a simple negligee, as she had just finished two hours’ work with her accompanist. “It was not for reclamé,” was Mile. Heldy’s answer to my question. “I really wanted to get a license and I am very much disappointed. I have several race horses, and whenever they are running in a race and do not come in first place, I always think that if I had ridden them they would have won the race. I have always loved horseback riding. My mother, who was English, was a fine horsewoman,-and I have inherited from her my love for not only-horseback riding but also for all other sports. I love golf, tennis, skating, and I am happy to see that French women are taking more to sports lately. I believe that it is the influence of the many splendid American women who came over to France during the war and who taught their French sisters the love of healthy and invigorating sports.” Of course I asked her if she plans coming to America. “It is hard to leave Paris,” she answered. “I love Paris and every inch of French soil. But I love the Americans; during the years of suffering I have learned to know many of the care-free, lovable, fearless boys who came over here, and many of the women who left their comfortable, happy homes and life of ease to do hard work, to which they were unused, to help us. Some day I may go over to renew that friendship which I value so highly.” Irish Cultural Congress. With delegates from England, the United States of America, Canada, South America, Mexico, Australia, France, Spain and Italy the first World Congress of the Iri h Race Capacity Audience Greets Noted Tenor and Mrs. Cockel-Gussen „ ,Literally singing hts *way into the hearts of־׳'his audience, Frederick* Gunster, famous American tenor, last night completely captivated his hearers by his rendition and own interpre lations of popular ballads and classical offerings at the Jefferson. Mr. Gunster appeared under the presentation of the Woman’s Organization of the Independent/ Presbyterian church. He was Mably supported by piano (\accf^fl)aniin׳ent of Mrs. Edna Gockel hajn, a musician, o p-lishment and 'w concert devote “Ma MaisQQ,ft 'b was per hap, of Gu !¡KpVsnQhfk^d sti our fract a rerftU/jion the fiAtUrme * American* audience*Npther ir • include 'clo]^EAion,, tey'BurfcpigA ^Vizard .also foV^me ^wsftjjbwne,’ Viight, and “Volga a beautiful and tunegul ./Yolk/y$tols adapted by Edward Broml^rg.^This .number with “Beetle Bateese” 1and the “Great Awakening,״ favorites with ' his audience on other occasions, proved popular at ׳this engagement. Frederick Gunster is an artist who puts feeling and path;os־ in his work and , those who have been heard to comment on his expression agree !Rat he perhaps lends more toward׳ interpretation to his songs ;by ex- pression than most American singers־^ resulting in a clear and definite de livery. Then, too, his accent and, pronunciation are two important fac- TTTTTJm-"—4■ r, r, ■ + V, + Vizicoo tnPSP Ultres, and to say that he uses these, accomplishments to perfection does not pay him sufficient tribute. ״ A capacity audience greeted both artists and tflthough the program was indeed lengthy, repeated encores increased the numbers, and both Mr. Gunster and Mrs. Kockel-Gussen completed their .engagement with complete satisfaction in the knowledge that their audience was well pleased with the superb entertainment.