March 2, 1922
MUSICAL COURIER
52
song, but only a few have been heard here with more flexible and pleasing voices than Miss Crawford.
From the Toronto Globe:
The soloist of the evening was Bertha Crawford, the Toronto soprano, who has been absent for several years winning triumphs in Italy and Russia. She won an incontestable and brilliant triumph in her	first	number, the “Caro	Nome”	aria from “Rigoletto.”
She revealed	in	this a pure light soprano	voice with	an excep-
tionally good middle register, free from the threadiness noticeable in so many coloratura sopranos. Her florid work was finely finished, and she proved here and later that she excelled both in vocal flights and in the exact adjustment of the intervals of the trill. She was encouraged by a perfect furore of applause, and an imperative demand for an encore. In response she sang the “Shadow Song” from	“Dinorah,” a favorite	display	piece with	coloratura
sopranos for	the	past fifty years or	more.	The writer	heard the
famous lima di Murska sing this number in London when in her prime, and is of opinion that Miss Crawford sang it last night with much more musical beauty of voice than was shown by Di Murska, and with quite equal virtuosity.
Reuter and Collins Win Joint Praise
Rudolph Reuter made his fifth appearance in Manitowoc, Wis., on January 24, when he and Edward Collins gave a two-piano recital there. These two artists, whose capabilities and successes individually as soloists are well known throughout the United States, have also achieved tremendous success in ensemble. Two distinguished Chicago critics have said:
Different from the usual run of recitals was the two-piano concert given by Rudolph Reuter and Edward Collins. They invaded a field which is only too rarely exploited nowadays. There is much fine and interesting music written in that form, and only occasionally do we find two artists so thoroughly in accord as to musical taste and feeling. Mr. Reuter and Mr. Collins are eminently fitted for the program they brought to hearing at their recital, and their selections were choice in both original works and adaptations. There was a large and appreciative audience.—■Tribune.
They played with complete sympathy and with a finish, a nicety in shading and emotional balance, and with a precision that made their work as beautiful as it was satisfying.—News.
Ellerman and Coxe Come Up to Expectations
There was an audience of over 300 at the sacred concert given by Amy Ellerman, contralto, and Calvin Coxe, tenor, at the First Baptist Church of Poughkeepsie, N. Y., February S. Excerpts from two of the press notices which these artists received are appended herewith:
Miss Ellerman, possessing a voice of exceptional beauty in the richness of her low tones and the clear resonance of her medium and higher tones, sang in a most pleasing manner. Mr. Coxe sang with splendid intonation and sweetness of tone and distinct enunciation. —Poughkeepsie Eagle News.
Miss Ellerman and Mr. Coxe came up to every expectation of the music lovers who attended the sacred concert. ... In the duets both singers were able to secure splendid vocal effects_ because of the fact that their voices blend as do few.—Poughkeepsie Eagle News.
James Hamilton Sings with Richmond Orchestra
The success with which James Hamilton, tenor, met when appearing as soloist with the Richmond (Ind.) Symphony Orchestra recently is told in the following press comments: James Hamilton, tenor of Chicago, delighted his audience at his two appearances. For the first number he sang the aria, “Celeste Aida,” from the opera “Aida,” by Verdi. Mr. Hamilton, has an unusually pow’erful and melodious voice which seemed to pour forth with ease and to fill the Coliseum. Large and impressive in appearance, he performed all his numbers with an individuality that gave his work added charm.—The Richmond (Ind.) Item, January 31.
Janies Hamilton, the assisting soloist, scored a well deserved success in his numbers which he sang with discrimination and a direct, sincere manner. His voice is a tenor of richness and power abounding in tonal nuances and wide in range. His first appearance was with the orchestra, singing the aria “Celeste Aida,” from “Aida.” His second number was a group of songs.—The Richmond Palladium, January 31.
Granberry Lauds Papalardo Students
The accompanying letter was written by George Folsom Granberry, director of the Granberry Piano School, to Arturo Papalardo, after he had attended a recital given recently by Papalardo pupils:
I wish to tell you of the very great pleasure that I had in the singing of your students the other evening. The young artists showed a real command of the art of singing and excellently developed and directed powers of interpretation. Their poise could rest only upon the most authoritative preparation, which you most evidently have given them.
A number of musicians who were in your audience have told me of their high appreciation of the artistry of your students, and, with me, congratulate our great City of New York that you expect to remain here definitely, thereby very greatly enriching the musical life of the city.
Hans Hess Receives Enthusiastic Davenport Comments
When appearing for the first time in Davenport (la.) as cellist of the Chicago Artists’ Trio, Hans Hess received individual praise, as the following notices attest:
An audience of tri-city people was swept into tremendous waves of enthusiasm by the brilliancy and artistry of the program of the Chicago Artists’ Trio. The ballroom of the club house was the audience room and here Ludwig Becker, conductor of the Tri City Symphony Orchestra; Hans Hess, cellist, and Rudolph Reuter, pianist, gave two hours of chamber music such as brought them
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pression and feeling, her high notes are clear and true, and her enunciation good. “Madame Butterfly” and the “Jewel Song” from “Faust” proved her operatic ability, although every number was artistically sung and warmly received. “La Colomba,” really a mezzo-soprano song, showed the beauty of her middle register; as an encore to “Mattinata” she sang the “Gavotte” from “Mignon” to her own accompaniment, most pleasingly and with absolute ease. Miss Namara gives the impression of putting her best work into every number she sings, and this was true of her final charming little encore, “All for You,” by Easthope Martin.—Washington Herald, February 4, 1922.
Mine. Namara is piquant as actress, gives good dramatic interpretations and has excellent diction full of meaning. Her “Jewel Song” from “Faust” was effectively interpreted. She was at her best in the “Gavotte,” from Massenet’s “Manon,” in which she accompanied herself at the piano. Here she showed delicacy of phrase and charm of manner. Her “La Colomba,” arranged by Kurt Schindler, brought out a depth of voice and big dramatic force.—Washington Times, February 4, 1922.
EMILY HARFORD AVERY
Accompanist and Coach
Assistant
to the lat« DAVID BISPHAM
Phone Circle 9026
Private Studio: 63 West 56th St., New York
Coach and Accompanist to
MARTINELLI
for six years Studio: 2231 Broadway, New York Phone Schuyler 6598
ROXAS
Vocal Coacb
E
M
I
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I
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HENRY F. SEIBERT
CONCERT ORGANIST
Trinity Church,.......Reading, Pa.
Mine. Namara is the possessor of a beautiful voice, combining an excellent range with purity of intonation and depth of feeling. Perhaps her most successful number was “Un bel di,” from Puccini’s “Madame Butterfly,” which she gave with the full force required, but with certain reserve which added to the beauty of the number.—Washington Star, February 4, 1922.
Alien McQUHAE
Tenor
Management MUSIC LEAGUE OF AMERICA 8 East 34th Street, New York
Mrs. Bready’s Opera Recitals Score Success
Following are excerpts of a few press approvals of the opera recitals of Mrs. George Lee Bready:
The ballroom of the Elks club was crowded. ... It was an appreciative audience before which Mrs. Bready presented “Boris Godunoff.”. . . To those who have heard the opera in New York,
© Underwood & Underwood
MRS. GEORGE LEE BREADY,
the pleasure of the repetition was in no wise diminished, and to those who have not been fortunate in seeing the opera in its original setting, the presentation by Mrs. Bready was an inspiration. The consummate art of Mrs. Bready throughout the presentation was a source of admiration to her hearers.—Amsterdam Evening Recorder, January 20.
The members and guests of the Century Club who attended the first of the series of three opera recitals, given Thursday afternoon at the Elks Club by Mrs. George Lee Bready of New York, are awaiting with impatience the next recital, for the first taste whetted the appetites of those present for more. Mrs. Bready’s presentation is unusual, in that she gives not only the words and the music of the opera, but also a portion of the dramatic action as well. All who heard Mrs. Bready were charmed with her personality and filled with admiration for her musical interpretative ability, her pleasing voice and the dramatic power which she at times displayed. Her descriptive powers were also a source of enjoyment to her hearers. Her presentation was flawless, and she held the entire attention of her audience throughout.—Amsterdam Evening Recorder, January 13.
The regret that this was the last appearance of Mrs. Bready in Amsterdam this season was mitigated by the hope that next year’s program will include several delightful < afternoons in which the people of the city may enjoy the inspiring performances of the charming artist. Throughout the presentation of the opera the characters lived before Mrs. Bready’s hearers as she painted for them skilful word pictures. With her expressive hands she expressed the emotions of the principals, the gradual piling of action upon action uptil the height of the drama is reached. Through her eyes her audience was enabled to see the gorgeousness of the settings, and those who have been privileged to hear her in her three opera recitals feel that although they may be unable to witness the actual performance, they have seen the operas. To Mrs. Bready the members of the Century Club are indebted for a series of treats such as it has seldom been their privilege to enjoy.—Amsterdam Evening Recorder, January 27, 1922.
Bertha Crawford Captivates Canadians
Bertha Crawford, coloratura soprano, who recently returned to America from her triumphs in Europe, appeared as soloist in Toronto, Can., with the New York Symphony Orchestra, Walter Damrosch conducting, on November 9 last, when she scored a genuine success. The local papers at the time spoke in highest praise of her artistic achievements. The Toronto Daily Star of November 10, stating:
A year ago Tetrazzini sang “Caro Nome” here to an admiring crowd. Bertha Crawford’s rendering of it would be worth more if she had stopped in the middle than the whole of Tetrazzini’s. In fact, for some of the most important elements of vocal culture she is better than Galli-Curci. She has fewer colors in her voice, but she has almost perfect intonation with a Galli-Curci-like flexibility and command of what are called nuances in the slow voice. She has a wonderful breath control and versatility of technic.
The Toronto Mail and Empire writes :
There can be no doubt that Miss Crawford scored a triumph. The authority with which she sang her two numbers, “Caro Nome” from “Rigoletto” and the “Shadow Song” from “Dinorah,” was itself sufficient to command the respect^ of the audience. You felt at once that Miss Crawford was no novice in the art of florid song. She knew just exactly what values she wanted in her ^decorative passages, and sang the compositions with sufficient individuality to show that she had made them her own. Miss Crawford’s voice is a light soprano, clear as a bell and remarkably brilliant. The tone has not that luscious quality that belongs so peculiarly־ to the Latins, but possesses more the sparkle of the diamond. Miss Crawford s trills are beautifully executed, swelling and melting with perfect evenness. She had her contest with the flute, too, in the Shadow Song,” and here again fortune was good to her, as the flutist was the peerless Barr ère. Their passages together were perfectly done. At the present time coloratura sopranos are more numerous than they were just before Tetrazzini reawakened interest in this form of
GEORGIELLA LAY
PIANIST
Interpretative Programs Manacem.it: HARRY H. HALL, 101 Park Ате., Room, 1111 New Terk Citr
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Address: PETERBORO, NEW HAMPSHIRE.
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New Orchestral Works
“Bronwen” (overture), Wild-fowl (Fantasie). Scotch Dances —“Les Hommages” (Symphony), “Apollo” (Symphony), “Gwyn” (Piano Concerto). Violin Concerto—
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SOUSA AND HIS BAND
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Now Booking Season 1921
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IN AMERICA 1922
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PRESENT FOR SEASON 1921-22
Ellen Beach Yaw, coloratura soprano; Hermina West, dramatic soprano; Lydia Lyndgren, dramatic soprano; Franklin Cannon, the distinguished pianist; Ann Thompson and Earl Meeker, pianist and baritone, in joint recitals; Marguerita Sylva, mezzo soprano; Antonio Rocca, dramatic tenor; Georgiella Lay, pianist, interpretative programs; André Polah, Belgian violinist; Mrs. George Lee Bready, to opera recitals; Jessie Masters. All-American contralto; Leila Topping, pianist and Vladimir Dubinsky, cellist in joint recitals.