March 30,1922
MUSICAL COURIER
32
MARWUVOquN
h ■i S ׳■.
' *HiMÌiuK
MARIA IVOGUN,
who recently gave a recital at Carnegie Hall, and who made her operatic dehut in New York as Rosina in “The Barker of Seville■■ with the.	Opera	oTthe
appearing here as soloist with the Philadelphia Symphony and in Chicago with the Chicago Symphony Orchestra, will give her third New York recital at Carnegie Hall on the
afternoon of Easter Sunday, April 16, at *3 o'clock. This will be Mme. Ivogun s last recital heie of the season.
and general style he showed intimate knowledge of the best traditions connected with the role.
Clarence Whitehill was an effective Mephistopheles and although he seemed to be suffering from a cold, his vocal skill and experienced art enabled him to give an excellent and well received performance, dominated by intelligence and temperament.	_	,
Giuseppe Danise was the Valentin and his fine singing organ and impassioned acting added highly valuable contributions to the evening’s entertainment. Others in the cast were Louis D’Angelo as Wagner, Mary Ellis as Siebel, and Louise Berat as Martha, and they did their work acceptably. Louis Hasselmans conducted and showed complete familiarity with the score and full mastery of his orchestral forces.
“Lohengrin,” March 23. •
There was an excellent routine performance of “Lohengrin” on March 23, with no special incident of any sort to call either for news notice or comment. Wagner’s long and frequently tuneful work was sung by Maria Jeritza, Julia Claussen, Sembach, Rozsa, Leonhardt and Gustafson. Bo-danzky conducted.
“Don Carlos,” March 25.
On Saturday afternoon, Verdi’s opera was repeated at the Metropolitan with a cast that included, Martinelli, as Don Carlos; De Luca, as Rodrigo; Frances Peralta, as Elizabeth; Jeanne Gordon, as Princess Eboli; Anne Roselle, as Tebaldo, and Alice Miriam, as A Voice. The principals were all in good voice and contributed, along with Rosina Galli and her ballet, to a performance of high standard, which proved to be of genuine pleasure to the large audience.
“L’Oracolo” and “L’Amore dei Tre Re,” March 25, (evening).
There was an unsual double bill on Saturday evening, March 25, in Leoni’s “L’Oracolo” and Montemezzi’s “L’Amore dei Tre Re,” and a large and enthusiastic audience enjoyed it. Marie Sundelius sang with infinite charm and pathos the role of Ah-Yoe in “L’Oracolo,” and Orville Harrold made the most of the part of her lover. Win San Luy. Scotti repeated his familiar characterization of the opium den keeper, and Giovanni Martino, was a vocally sonorous Win Shee. As Elua Quee, the nurse of Hoo Tsin’s little son, Cecil Arden scored her usual success. The remainder of the cast included Louis D’Angelo as Hoo Tsin, Ada Quintina as Hoo Chee, and Pietro Audisio as the fortune teller. Giuseppe Bamboschek was the conductor.
For the Montemezzi work, Florence Easton was a superb Fiora, both vocally and histrionically. Beniamino Gigli was a splendid Avito, and the other two kings were Leon Rothier as Archibaldo, and Millo Picco as Manfredo. Angelo Bada was Flamino. The minor women’s roles were well taken—Myrtle Schaaf as the shepherd’s voice, Louise (Continued on page 57)
received many bouquets. Her associates were Anne Roselle, a pleasant voiced Musetta; Antonio Scotti, an impressive Marcello, and Mario Chamlee, a well voiced Rudolfo.
Those appearing in “Trovatore” were Francesca Peralta, as Leonora; Jeanne Gordon, whose Acuzena is a familiar figure; Manuel Salazar, as Manrico, and De Luca, as Luna. The performance was a good one and all the artists did their part to make it so.
Marie Sundelius was the Marguerite of “Faust, and she did some really effective work vocally. Orville Harrold was fine as Faust, and Rothier reappeared as Mephistopheles.
In the excerpt from “Aida” there were familiar figures in Muzio, as the slave princess, her impersonation at all times being gripping and intelligent; Jeanne Gordon, a queenly Amneris; Martinelli, a welcome Radames, and Martino and Whitehill as the High Priest and Amonasro.
“Mefistofele,” March 20 (evening).
Boito’s work was repeated on Monday evening, before a capacity house. Frances Alda was heard in what has proven to be one of her best roles, Margherita. Vocally she was admirable and she acted with simplicity and charm that won her audience at once. Florence Easton was a worthy Elena, Jose Mardones a capital and impressive Mefistofele, and Gigli a silver voiced Faust. All in all the performance was on the same high plane as formerly, and due credit for this goes to Roberto Moranzoni, who led his orchestra through the opera with proper authority and effectiveness.
“Faust,” March 22.
Gounod’s ever melodious and ever popular operatic classic, for such it has become throughout the years, drew the customary large audience and earned the habitual resounding applause. “Faust” is one of the most picturesque presentations, scenically, given at the Metropolitan, and there is no opera house in the world which outdoes our local temple of lyric art in that respect. Aside, however, from the pictures which met the eye in the way of scenic decorations, there was also female loveliness to gaze upon m the person of Geraldine Farrar, whose Marguerite is a vision of youthfulness, beauty, and grace. The role is the one in which Mme. Farrar made her Berlin debut some years ago and in which she scored the instantaneous success that led her to later triumphs everywhere. While Mme. Farrar’s acting nad its usual finish and effectiveness, her voice was not all that one could have asked and it reflected certain shrill aspects in the higher ranges. However, so far as musical intelligence and artful delivery were concerned, there was nothing to criticize in the Farrar singing.
Martinelli, as Faust, did not have to change his natural person or bearing very much in order to give the illusion of youth, for his figure, appearance and acting created such a picture very effectively. He was in splendid voice and sent forth voluminous and beautiful tones. In phrasing, diction
METROPOLITAN OPERA
March 18.
(Continued from page 5) “Secret of Suzanne” and “Pagliacci/
A double bill of opera brought the Brooklyn season to a successful dose, March 18. The past season has been the happiest the Academy of Music has ever enjoyed, and the subscribers and devotees are looking forward to next year with the greatest expectancy, The first offering of the_ final performance was the “Secret of Suzanne.” with Bori and Scotti, as the charming young wife who loved to smoke cigarettes and the jealous husband who, despising the smell of smoke believed that the fascinating Suzanne was entertaining a gay Lothario in his absence.
Bori’s exquisite voice and charming personality made the casual observer forget that the famous Geraldine had portrayed the “cigarette bride” for so many years. Her delightful personality made the audience believe that what her husband considered a sin, was after all, her outstanding virtue. Scotti, as the insanely jealous husband, continued the impression which he always creates—the great artist. He is indeed a lucky man to have inherited two such charming operatic brides as Farrar and Bori. Papi conducted the scintillating music with unabated enthusiasm, and the orchestra played with perfect abandon and full appreciation of the lovely score. Paltrinieri, as Sante, the mute servant, gave an excellent performance of pantomime.
The second offering, “Pagliacci,” was not so happy a performance. Of course, Muzio, as Nedda, sang and acted like tie true artist that she is, receiving a real ovation for her rendition of the “Bird Song.” But, unfortunately the same can not be said for her associates. Manuel Salazar, as Canio, only brought back memories of what might have been, and Chief Caupoiican, as Tonio, confirmed the^ conviction that other baritones have been more successful in operatic love. Millo Picco was a vocally fine Silvio, and Moranzoni conducted with his usual good taste.
For the Brooklyn season of opera we can say “Ave, atque, vale.”
Benefit Performance, March 20 (matinee).
On Monday afternoon, March 20, a special matinee was given at the Metropolitan as a benefit for the Emergency Fund. The bill consisted of the third act from “Boheme,” the fourth from “Trovatore,” the fourth from “Faust,” and the “Nile Scene” from “Aida.” Taken as a whole, the afternoon was an enjoyable one, but it might be said that the most interest centered about the appearance of Geraldine Farrar as Mimi in “Boheme,” a role in which she had not been heard here for over eleven years, and which, as she said herself during a curtain call, she sang in memory of Caruso, with whom she sang the role the last time. Never has she been heard to better advantage. She sang beautifully and acted the part with appealing simplicity and charm. Needless to say, she was accorded an ovation and
Annie Fried berg takes pleasure in presenting
HELEN BOCK
13 | Q -f-| j n j-	who will be heard next season and who
Ml JL iA AX A ^ X	will arouse interest not alone because she
--------------- is an American but because she is an unusually gifted artist. Special programs in preparation for Clubs and Colleges.
March 28th, played as soloist, Matinee Musical Club, Bellevue-Stratford, Philadelphia.
For particulars communicate with Exclusive Management Annie Friedberg, Metropolitan Opera House Building, New York.	STEINWAY PIANO USED