9
MUSICAL COURIER
March 30, 1922
INTERNATIONAL FESTIVAL PLAYS
AT ZURICH
MAY !Otti UNÏTIL MAY 31st, 1922
“Louise”
FRENCH OPERA
“Carmen”
Performed by the Soloists of the Opera Comique of Paris
Musical Conductor: Albert Wolif
ENGLISH COMEDY
“You Never Can Tell” by Bernard Shaw “The Pigeon” by John Galsworthy
Performed by the company of The Everyman Theatre of London under the direction of Mr. Norman Macdermott
“Fledermaus”
GERMAN OPERA
“Tristan and Isolde”
Principal artists:	Emmy Kruger (Isolde), Curt Taucher
(Tristan), Karin Branzell, Paul Bender, Friedr. Plascke, Rich. Tauber
Musical Conductor: Bruno Walter, Munich
“Venus” (first performance) by Othmar Schoeck
“Ilsebill” by Friedrich Klose “Knight Bluebeard” by E. N. v. Reznicek
Performed by the Zurich Municipal Theatre Director: Paul Trede
Musical Conductors: Othmar Schoeck (“Venus”), Robert Denzler (“Ilsebill”), E. N. v. Reznicek (“Bluebeard”)
Further information is given and the prospectus can be obtained at the Office of the Swiss Federation Railways, New York, at all the Agencies of the American Express Company throughout the U. S. A. and Europe, at the Official Information Bureau at Zurich, Uraniastr. 7 and at the
Office of the International Festival Plays at Zurich
Florastr. 52, Telegrammes: Opernfestival Zurich	General Manager: H. W. Draber
Metropolitan !Musical Bureau Announces Bookings
The Metropolitan Musical Bureau, founded six years ago by F- C. Coppicus, has had some of the most sensational artists in America this season and announces important tours for the season to come.
Chaliapin and Jeritza will again be here, the former °״oing as far as the Pacific Coast, but Jeritza limiting her tour to cities east of the Mississippi. Other artists to tour under this management will be the tenor Martinelli, of the Metropolitan; Anna Case, America’s popular recital singer; Erika Morim; Jacques Thibaud, famous French violinist; Pablo Casals, cellist; Harold Bauer and Ignaz Friedman, pianists; Alberto Salvi, harpist: Louis Graveure, baritone; Carolina Lazzari, contralto; Rafaelo Diaz, tenor of the Metropolitan • landy MacKenzie, Hawaiian-American tenor, and Arturo Bonucci, the brilliant Italian cellist.
gagement as soloist for the regular weekly musical service and all his playing was such as to cause intense satisfaction. Following the service he was surrounded in the chapel by prominent members of the church, when, seated at the piano he gave his imitations of the chimes of Grace Church, the Metropolitan tower, and other music. His amiability and evident joy in music brought Mr. Grasse very close to the hearts of his listeners.
Musical Artists Here, There and Everywhere
Upon his return to New York recently from a recital tour that included seven states, Edgar Schofield expressed surprise that any of the great concert artists were available for appearances in the East.
“It seemed to me while I was away,” he explained, “that they were one and all traveling about the country filling engagements. I met them on trains, read articles about their coming concerts in the papers, or criticisms after they appeared, saw^ their pictures on posters, heard them discussed. Pianists, violinists, singers, all of international fame were everywhere, and by that I mean the small towns as well as the cities. Yet there are some people who affirm that this isn t a musical country. I’d like to take a bunch of those people on my next tour. They would experience a change of heart long before the tour was ended.”
Easter Caroling New Civic Music Venture
So successful was the Christmas carol singing throughout the country during the recent holidays that a new campaign has been instituted for the inauguration of Easter caroling. The plans are similar to those for the Christmas caroling, inasmuch as they call for the sending of groups of singers throughout a community to sing Easter hymns to people in the homes, inmates of hospitals, and other institutions. The early morning hours of Easter Day. are chosen for the caroling. The local papers are aiding the campaign by running the words and the story of one of the carols each day during the week preceding Easter. These “Stories of the Easter Carols” have been prepared by Prof. Peter W. Dykema, of the University of Wisconsin, and are issued in a bulletin under the above title by Community Service at its headquarters, 1 Madison avenue, New York City. Some of the carols chosen are the following: “Christ the Lord Is Risen Today,” “The Strife Is O’er, the Battle’s Done,” “How Firm a Foundation,” “All Hail the Power of Jesus’ Name,” “Crown Him with Many Crowns,” and “Come, Ye Faithful, Raise the Strain.”
Ralph Leopold at National Arts Club
Ralph Leopold, American pianist, gave a concert at the National Arts Club on March 1, which was attended by a large audience. His program was made up of the
™ ?N״ /TV” D rtior-■tBach-D־Albert; sonata, op/]’ No 2, Beethoven; Chopin’s nocturne in G major ״!? Mazurka in D major; “Sonnette del Petrarca,” No
fi
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. Mr• Leopold scored a veritable triumph. He received sincere applause ana was recalled innumerable times.
Cecil Burleigh Honored
Recently Cecd Burleigh played his own violin concerto with the St. Louis Symphony Orchestra in St. Louis, under the baton of Rudolph Ganz. After the concert Mr. Burleigh was a guest of honor at a reception given by the “Mu-sicians Fund of America” and he was unanimously elected honorary vice-president of the organization.
Nellie and Sara Kouns Going to Australia
The last contract signed by Frederic Shipman, of International Tours, Ltd., before his departure for Australia, was one calling for a tour of the Antipodes by Nellie and Sara Kouns, beginning in March, 1923. The sopranos are engaged for at least fifty joint recitals and their time will be divided between Australia and New Zealand until June. En route to the coast they will fill engagements now booked for them in Kansas, Oklahoma and Texas and will also sing in several California cities before sailing. Two recitals in Honolulu will precede the Australian tour.
The Misses Kouns are the third Daniel Mayer attraction announced for Australia the coming season. Guy Maier and Lee Pattison will also tour under the Shipman direction from June until October and Marguerite D’Alvarez, assisted by Horace Britt, cellist, will be there from June until September.
Claussen Philharmonic Soloist Four Times
Four performances by the New York Philharmonic of Gustav Mahler’s third symphony (־February 28, March 2, 3 and S) enlisted the services of Julia Claussen as the contralto soloist. The first of these performances, which was also the first presentation of the Mahler work in New York, was given at the Metropolitan Opera House with Mengelberg conducting: the other performances were given at Carnegie Hall and the Academy of Music in Brooklyn.
San Carlo Opera Tour Nearing Close
Fortune Gallo’s San Carlo Grand Opera Company will complete its present transcontinental tour at Buffalo on Saturday night, April 22. This has been an eventful season for the sturdy opera company, for it has stood the test of popularity throughout a season that has been marked by unprecedented depression. Theatrical companies by;the score have been called in from their tours as New York managers have contemplated ever shrinking box office statements With the San Carlo, however, excellent business was the rule in all cities. On the Pacific Coast Mr. Gallo s company had a two weeks’ engagement m Los Angeles, two weeks’ in San Francisco, a week in Oakland, a week m Portland, a week in Seattle, besides visits to Vancouver, Victoria, Calgary, Edmonton, Regina, Saskatoon, V lnm-peg, Denver, Omaha, and other western cities.
In the East, earlier in the season, the San Carlo departed from its ■custom by instituting subscription series of two weeks in Boston, at the Boston Opera House; three weeks in Philadelphia, at the Metropolitan Opera House, and four weeks in New York, at the Manhattan Opera House. These were so successful that plans are already under way for a repetition next season. Quebec, Montreal, Providence, Washington, Pittsburgh, Detroit, Buffalo, Toronto and St. Louis are among the cities that are on the route list of the present tour for one week each. In the case of St. Louis, local manager Guy Colterman has co-operated with Mr. Gallo to make the week one of unusual brilliance in operatic significance. Besides the regular roster of popular artists, such as Bianca Saroya, Josephine Lucchese, Sofia Charle-bois Elizabeth Amsden, Anita Khnova, Nina Frascam, Giuseppe Agostini, Gaetano Tommasim, Romeo Boscacci, Joseph Royer, Mario Vallo, Nicola D’Amico, Pietro De Biasi Natale Cervi and others equally well known, the petite Japanese soprano, Tamaki Miura, will have two guest appearances in “Madam Butterfly” and Anna Fitziu will rush from a series of Southern concert engagements to appear in “Lohengrin.”
Edwin Grasse a Versatile Artist
Edwin Grasse is achieving extended reputation in three lines of musical activity, including the violin, organ and composition. He has appeared in these several capacities frequently, the most recent being February 24, at the Pilgrim Church, New York; February 26, at Pomfret School, and March 12 at Summerfield M. E. Church, Port Chester. At Pilgrim Church he played organ works by Guilmant, his own original serenade and his transcription for organ of the “Tannhäuser” overture. He also played violin solos by Kreisler, Cesar Franck, Brahms Wieniawski and his own “Waves at Play,” the last named being a favorite with the late Maude Powell. At the Pomfret School he played some of the same works, as well as his own Norwegian Dance,” song without words and scherzo. Isidor Gorni was at the piano. At Summerfield M. E. Church (F. W. Ries-berg organist and director) he played two organ solos-the prelude to “Lohengrin” and his own toccata On the violin he played “Allemande” (Ficcco), andantino_ m F (Martini) and his own pastorale. This was a special en-