March 2 3, 1922
33
■■	Vocal Teacher and Coach
I	' Consultation by
Appointment
I | Studio ! 25 West 86th Street
,	NEW YORK CITY
phone: 6107 Schuyler
American Academy’s"SeyentH Performance
״ 3003> ־stage settings. :chara'cWfi?e(i'both plays given by the American״; Academy ;Of Dramatic;,Ayts. at the Lyceum Theater, March 30/these being,'“The',Change House,” a tragedy (first־ performance)׳,' by'John ijl'r'af!d.ane,' and “I’ll Leave It to You,” comedy in three attsj.by Noel Coward. Ernest Woodward was particularly good ■ as the master of the brig, and Jean Greene (who also 'appeared ¡ri the second play) deserves mention. ' Others . were J. Andrews Johnson, John Overstock and Claudia Frank. The comedy brought many excellent young actors to the forefront, Dortha Angove and Lulu Mae Hubbard proving themselves good looking and capable. John W. Moore and Thomas Broederick were both natural. Others concerned were Consuelo Wonders, Alice Buchanan, Virginia Odiorne, Claudia Frank, Charles Tazewell and Allen Jenkins. Quite professional in their carriage, stage manners and technic were those named; indeed, audiences at the performances of the American Academy often say to Mr. Sargent, the president: “That performance was as good as any seen in Broadway theaters by professionals.” That worthy gentleman thereupon smiles his quiet smile, and thinks to himself, “I know it.”
cently in Youngstown, Ohio, in “Trills; and ,Frills”.' ■and scored their usual success both with their audiences and :the press. The reporter for the Youngstown Telegram stated that the McConnells are two girls who show that ■it is. pos׳-sible to hold down a big spot on any program with vpcalizar tions, all of which are of the standard and classic description. According to the Daily Vindicator, Harriet and Marie McConnell, fetching young women, with fine costumes and appropriate scenic investiture, are two of the most artistic singing entertainers in vaudeville and they scored a tremendous hit.
Patton in Norwich
Fred Patton appeared in the third number of the Academy Musical Course, winning the enthusiastic approval of a large audience, whose insistent calls for encores lengthened the program to extra numbers.
Mr. Patton opened the program with “Arm, Arm, Ye Brave,” from Handel’s “Judas Maccabeus,” in which he made a most favorable impression and prepared the way for the revelation of his commanding voice that was to come in his second number, the aria, “Fu dio che disse,” from “L’Ebreo” (Apolloni). Range that was remarkable, diction that was notable, and even quality throughout its register, and dramatic ability in expression were characterises of Mr. Patton’s well trained voice that made his singing a delight to his discriminating hearers.—Norwich Bulletin, February 16.
Music at the Scudder School for Girls
There have been a number of splendid musical programs given during the current season at the Scudder School for Girls on West Seventy-second street. One of the very recent musicales was given by Helena Sipe, pupil of Sto-jowski, and Miss Zaracosta, pupil of Howard Brockway. Prof. Winfield Abeles and Victor Biart are at the head of the music department at the Scudder School.
Ida Geer Weller Sings for Lotos Club
Ida Geer Weller, mezzo-contralto, sang at the Lotos Club when Ladies’ Day was celebrated on March 7. Miss Weller was heard in two groups of solos and scored her usual success with her audience. So artistically sung was the aria from “La mort de Jeanne d’Arc,” Bemberg, that the chairman of the entertainment committee, Henry C. Junge, asked her to repeat it. Edna Rothwell accompanied Miss W eller.
Hutcheson to Play Request Numbers
The program which .Ernest Hutcheson will play at his recital in Baltimore, March 24, will include, by request, the Bach-Liszt fantasy and fugue in G minor and eight Chopin etudes. He will also play the Liszt sonata in B minor, a Chopin nocturne and two of his own compositions.
His voice is a pleasing baritone of excellent register. He sings vibrantly, elastically, freely, with clear regard for well shaped, transparent tone. Always he sings with keen sense of vocal design and from full and ready vocal skill. His enunciation is excellent . . . . In the aria from “L’Ebreo,” he disclosed an excellent sense of dramatic values, with nicely sustained line, adept modulation, plastic progress and apt climax.—Norwich Evening Record, February 16.
Arthur Hackett Scores in Concert
Arthur Hackett is such a favorite with concert patrons of Providence, R. I., that after his recent recital in that city the critic of the Journal lamented that it was at least a year since he was last heard there. He then went on to say, in part :
Intelligent understanding is an important asset of this young artist. He seems unerringly to sense the subtle and varying ־ demands of his songs in the matter of style, and the result is a finished performance. The songs of Brahms, Schubert and Schumann were given with an imaginative skill and quality of tone that- made them vivid portrayals of the. composer’s intent. The Russian group, consisting of four fine songs, furnished, perhaps, the ;highest artistic mark of the evening.
Claussen’s Brunnhilde Wins Praise
The following paragraph was. taken intact from the Philadelphia Ledger after Julia.Claussen’s. appearance there on March 14 as Brunnhilde. in ׳.Wagtief’s “Die Walkure”: Julia Claussen, as Brunnhilde־, was superb. Her first dramatic singing of the Valkyrie almost’stampeded the audience into applause. Claussen has one of the really great voices of the day and a gift for־ the portrayal of roles second to ־no'singer ׳on the stage. Her enormous vitality "and buoyancy always create response in the audience, ev€!T her -most -limited utterance last night being thrilling in significance. ־:.־..
1922-1923 AN UNUSUAL CONCERT OR SINGLE ATTRACTION
(Season Sixteen Weeks)
“I Pagliacel”-(In Italian) preceded by the woodland pantomime “An Hour Before the Cock Crows.” Full scenery, costumes, lighting and a small orchestra of chamber musicians. Cast of high excellence. Territory, Ohio, Mich., Penn., N. Y., Virginias, Carolinas and New England.
Now Booking—Wire or Write
KINGSBERY FOSTER, MGT._________________________66 West 38th St., New York
MEZZO-CONTRALTO
Voice Builder and Coach
Studio: 235 West 102nd Street. New York Phone; River 6400
Western Tour and with the Cornish School until May, Seattle, Wash.
PIANIST
1730 Broadway, New York
HARRIET
BARITONE
TEACHER OF VOICE
Available for Concerts, Recitals and Oratorio Studio: Metropolitan Building Orange, N. J. N. Y. Branch: 105 West 130th Street
BOYD
Wilson LAMB
Baritone
Now Teaching in New York City
STUDIO : 131 RIVERSIDE DRIVE
Applications may be sent to ISABELLE STRAN AH AN, Secretary, at the above address
EXCLUSIVE MANAGEMENT:
DANIEL MAYER
Aeolian Hall New York
CONCERTS OF MUSIC FOR TWO VIOLINS
MAX
and
MARGARITA
OPINIONS OF THE PRESS
Werrenrath an Artist of Distinction
The following are some excerpts taken from reviews of Reinald Werrenrath’s concerts on his western tour, from which he will return the latter part of March:
It is a delight to hear him pass through all the gamut of human emotions with perfect vocal control, rare good taste and clear enunciation.—World-Herald, Omaha, Neb., January 20.
Mr. Werrenrath gives voice to the thoughts of the masters of song with perfect sincerity, with complete poise and with tremendous effect. The voice itself is a rarely beautiful one, rich in a profusion of colorings, capable of use in moments of dramatic passion, or of tender sentiment, and compassing, all the intermediate gradations.—Omaha Bee.
Reinald Werrenrath is one of those chaps who sings remarkably well, but while he is doing it convinces his audience that he could do anything else quite as capably. He gave a most remarkable performance.—Post, Denver, Colo., January 24.
A wealth of tone and an intensity of feeling that marks him an artist of singular worth.—Denver Times.
He knows how to use his vocal _ apparatus, he has a sense of proportions that is unusually well developed, he is a master of enunciation—whether he is French, Italian or English—and he knows the inner poetic sense of what he is singing at all times.— Rocky Mountain News, Denver.
After hearing Reinald Werrenrath one readily appreciates why he has been so unfailingly popular with concert audiences for the last twelve or thirteen years.—Daily Press, Riverside, Cal., February 1.
Werrenrath’s art is essentially virile and vigorous, and his singing is delightfully lacking in sentimentality.—Riverside Enterprise.
Mr. Werrenrath is an artist of rare ability and imagination, and his beautifully modulated voice is so exquisite that one is not conscious of the technic^—Merced Morning Star* Merced, Cal., February 7.	j ־ ־
From tender love songs and delicate gaiety, ..to rollicking songs of the sea, Werrenrath proved himself tf* be -an artist.—Merced Evening Sun.	:	.
Werrenrath is a singer, of whom his fellow countrymen may well be proud—Daily Times, Palo Alto, Cal., .February 10. ־
Werrenrath sings with consummate ease and smoothness.—Daily Evening Record, Stockton, Cal., February 11.
What a pleasure to listen to a foreign tongue and־ follow the text without doubt.—Journal, San Francisco, Cal., Febfuary 13.
Reinald Werrenrath is an artist of distinction.—San Francisco Bulletin.
Sandusky Gives Menth Ovation
The press of Sandusky, Ohio, praised Herma Menth in the highest terms following her recital in־ that city on February 24. Mollie Lee, in the Star-Journal, stated that from the entrance of the pianist to the close of .the recital she held her audience enthralled. Miss Lee-also' said that combined with a marvelous technic and. a virility and brilliance which is phenomenal, Miss Menth has e£ winning personality which at once makes her hearers eri rapport with -her work. One of the comments in Mrs. Lilly Johnson’s review of this recital was to the effect that Herma.Menth’s playing is of such outstanding worth that one thinks of her as “pianist,” not as qualified “woman pianist.” Mrs. Johnson further stated: “The friendly personality of this slight woman with the vivacity and .charm imtnemoriably associated with the Viennese, is one which wins your loyal liking and admiration. That personality is one of Menth’s greatest assets—which fused with her brilliancy as artist makes an irresistibly appealing combination.” It was the opinion of this critic that Miss Menth rose to magnificent heights in the exacting passages of the Liszt fantasie and fugue on the theme B-A-C-H. After commending the pianist for each of her selections, Mrs. Johnson wound up her report by saying, “The Gounod-Liszt ‘Faust Valse’ was a number which made a fitting close to an exacting, well balanced and splendidly executed program of sixteen compositions and four graciously granted encores.”
John Powell Impresses His Hearers
John Powell’s recital at Providence, R. I., March 14, proved, according to the critics, one of the finest among the many musical programs heard in that city this season. In their discussion of the recital, they said, in part:
He is a player of high artistic ideals and impresses his hearers by the soundness of his musicianship, his excellent taste, sincerity of purpose and finely developed technic. His conception of the Beethoven “Waldstein” sonata was admirable in its appreciation of befitting classic dignity of style. Three “Country Dances” by Beethoven, his own “The Banjo Picker” and the arrangement of “Turkey in the Straw,” brought a light and gay touch to the program, ־ and were played with splendid dash and vigor, the last being a veritable glitter of rhythmic motion.—The Journal.
Mr. Powell’s playing of the “Waldstein” sonata stamped him as a musician of peculiar individual talent—one who has an abundance of force whenever required, a wide range of dynamic effect, as well as delicacy, grace and poetic feeling. In his Chopin group he wove many an enchanting spell.—Evening Tribune.
Van der Veer Scores in Pittsburgh
“Mme. Van der Veer sang with fervor and brilliance; everything she touched was marked by musicianship and finish,” was the verdict of the Pittsburgh Sun after the contralto’s appearance there on February 10. On the singer’s program, among other selections, was a Bach aria, followed by two Schubert songs. “Night and Dreams” and “The Omnipotence.” In her Russian-French group she sang the Rachmaninoff “O, in the Silent Night,” the “Song of the Shepherd” from “Snegourotchka,” “Les Cygnes Noirs” (Paulin), and the “Les Cigales” (Chabrier). “All were delivered with skill and delicacy,” said the Gazette-Times. And, according to this paper, her final English group “had far more interest than is usually found in this place,” with “Wings of Night” (Watts), “Lullaby” (Scott), “Lindy Lou” (Strickland), and the “Robin Woman’s Song” from Cadman’s “Shanewis.”
Press Praise for McConnell Sisters
Harriet and Marie McConnell, daughters of Mrs. E. B. McConnell, the vocal teacher of New York, appeared re-
m.