March 2, 1922
MUSICAL COURIER
30
TO MANAGERS
Why Not Vary Your Programs for Next Season by Presenting a Real Novelty, Giving Your Patrons the Opportunity to Hear Opera Comique?
In full action with costumes and scenery stage to take the place of one of your id you want to know more about it writ! Street, New York, or to any of the 100 co{ this season. That Opera Comique as prel by everybody, musicians and the laity all and such a performance costs about the si
—	READ!
ANOTHER SEASON OF The Eminent American Baritone
PERCY HEMUS
MOZART’S OPERA COMIQUE
“THE IMPRESARIO”
with
Thomas Mc.Granahan as “Mozart’
Gladys Craven as “Accompanist”
Lottice Howell as “Dorothea”
Hazel Huntington as “Mme. Hofer”
Francis Tyler as “Phillip”
Louise Dooly says in the Atlanta Constitution:—"There has rarely been presented here anything more intimately delightful. The Impresario met surprisingly the taste of the audience. The Music is so marvelously and untiringly melodious; it is done in such exquisitely rounded periods; it is so gracious and so refined; the audience liked it.”
Poughkeepsie Eagle-News, February 17th, 1922:—“I consider this the greatest event dramatically or musically that has been to Vassar College for many years,” said Professor Gow, head of the music department.
Dr. Van Hoose, President Shorter College, Rome, Ga., wired:—"On behalf of the faculty and students of Shorter College 1 want to thank you for making it possible for us to hear the Impresario; beautiful, clean, inspiring—the best thing 1 have heard in ten years.”
Will B. Hill, head of Star Concert Course Committee, Bowling Green, Ky., writes:—“The Impresario was the best thing we have ever had, and 1 have contracted for ‘Cosi fan tutte’ as the most fitting number to open my course in October.”
PERCY HEMUS
DETROIT TIMES, February 7, 1922.
“While Percy Hernus is above all else a great artist, a consummate histrionic genius, his rich, mellow voice of clear penetrating tones, is his greatest charm. .	.	. The greatest character seen in Detroit
in many years.”
JOURNAL, Topeka, Kan., November 17, 1921.
“As a man he is magnetic, as actor he is inimitable, as singer he commands a mastery of diction that is not equalled in its resonance and clarity by any singer in America.”
STAR, Kansas City, Mo., December 4, 1921.
“He not only sang his baritone parts with rare artistry, but won thunderous applause by his truly great acting.”
HAZEL HUNTINGTON
BROWNSVILLE, TEX.
“Her pure soprano voice is birdlike, yet of a rare sweetness and melodious beyond that of many famous singers.”
DETROIT NEWS, February 7, 1922.
“Miss Huntington frolics up to the high notes, smiles .at their austerity, and puts her voicp at their level without apparent effort.” BLOOMINGTON, ILL.
“Her voice is one of genuine melody, sweet and true.”
SE DALI A, MO.
“Carried the vocal honors, singing with astonishing ease.” MORNING NEW BERN I AN, New Bern, N. C.
“Captivated her audience with the first tones of her rich voice.” DAILY KENNEBEC JOURNAL, Augusta, Maine, February 14, 1922.
“Miss Huntington’s voice is high, clear and astonishingly sweet.”
FRANCIS TYLER
DAILY KENNEBEC JOURNAL, Augusta, Maine, February 14, 1922.
“Francis Tyler has an undeniably fine baritone voice and adequate training. His acting was finished and artistic.”
DETROIT SATURDAY NIGHT, Detroit, Mich.
“The baritone of Francis Tyler was familiar to Detroiters, and he sang with liis usual care.”
JOURNAL, Kansas City, Mo.
“Francis Tyler has a bass-baritone voice of power and sweetness and the practiced grace of a good player.”
BEAUMONT DAILY JOURNAL, Beaumont, Tex.
“Francis Tyler is an artist of exceptional ability and gracefully carried off his role.”
GLADYS CRAVEN
DAILY HEADLIGHT, Pittsburg, Kan.
“Gladys Cfaven at the piano gave artistic support that was one of the delightful features of the opera.”
DETROIT FREE PRESS, February 7, 1922.
“Gladys Craven furnished music worthy of the beautiful arias of the piece.”
DAILY CAPITAL NEWS, Jefferson City, Mo.
“The exceptional fine work of Miss Gladys Craven at the piano was the soul of the production.”
THE CONSTITUTION, Atlanta, Ga.
“Gladys Craven at the piano gave a superlative satisfaction with her accompaniments.”
THOMAS McGRANAHAN
REPUBLICAN, Springfield, Mo., January 7, 1922.
“Thomas McGranahan, as Mozart, used a splendid tenor voice of the extremely high type. He evidenced thorough training and a fine understanding of music.”
THE PIEDMONT, Greenville, S. C., October 25, 1921.
“Thomas McGranahan played the part of Mozart to perfection, not only did he look like the great composer, but his singing was excellent.”
DAILY TIMES-JOURNAL, Bowling Green, Ky.
“Thomas McGx־anahan was admirably cast and revealed a most refreshing lyric voice, of beautiful and pleasing quality—his ‘Mozart’ will not be forgotten.”
THE STAR GAZETTE, Elmira, N. Y., February 16, 1922.
“Mr. McGranahan has a voice of musical quality much above the average in beauty.”
LOTTICE HOWELL
KNICKERBOCKER PRESS, September 2, 1921.
“Miss Lottice Howell has scored at every performance this week.” MORNING TELEGRAPH (N. Y.), September 9, 1921.
“Her fine young voice and charming personality make a strong appeal.”
TIMES-UNION (Albany, N. Y.), September 2, 1921.
“Miss Lottice Howell, soprano, has a charming personality and lovely voice.”
NEWARK EVENING NEWS, (N. J.), September 22, 1921.
“Another interesting singer, a song bird from Alabama, is Lottice Howell, whose lovely soprano, which ranges high, has become so flexible and her tones are so firmly placed and freely emitted that her singing of the ‘Butterfly’ commends her to discriminating hearers.”
BOOKED BY ASSOCIATED MUÍ
CHICAGO MUSICAL BUREAU Orchestra Bldg., Chicago, III.
ELBERT A. WICKES Little Bldg., Boston, Mass.
and William Wade Hinshaw,
UNIVERSAL CONCERT BUREAU 2443 Prospect Ave., Cleveland, Ohio