57
MUSICAL COURIER
March 3 0, 1922
CONCERT ANNOUNCEMENTS
Concert of Compositions by
BORIS LEVENSON
Russian Composer AEOLIAN HALL Monday evening, April 3, at 8.1S assisted by
Viola Lessier, contralto Margarita Selinsky, violin Sergei Radamsky, tenor Vladimir Dubinsky, cello and
The Russian String Quartet Steinway Piano Used Reserved Seats at Box Office
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance.—Editor’s Note.]
John McCormack, Tenor, March 16 Evening Mail	Evening Post
It was in his Bach, however,	He seemed somewhat out of
that the tenor revealed his his element when he sang “Mein greatest art.	liebster Jesus ist verloren” and
“Nimm mich du zu eigen hin” from two of Bach’s cantatas.
Alice Verlet, Soprano, March 17
Herald,
She has a lovely natural voice, although it seems to have lost some of its freshness.
Evening World.
Her voice was not so fresh as it once was.
Tribune
Her voice, fresh and well pre served, was effectively' used.
Miron Poliakin, Violinist, March 19
Evening Journal His playing .	.	. Chiefly
lacks breadth.
New York Herald Mr. Poliakin showed again admirable breadth of conception.
Henrietta Conrad, Soprano, March 21
Tribune	American
Her upper notes were unusu- Her high tones sounded some-ill, sonorous.	what strident.
Emma Calve, Soprano, March 21
Herald
Mme. Calve was not in such excellent voice conditions as she was at her first recital.
Evening World
Her singing not so satisfactory as at her first appearance.
Frieda Hempel, Soprano, March 21
Evening Post Mme. Emma Calve has been heard in several recitals in New York during this winter, but at none has she sung more beautifully and expressively than she did yesterday afternoon.
Evening Journal Mme. Hempel was not in quite her best voice . . . Her fioritura lacked something of brilliance. .	.	. Her “Mond-
nacht” of Schumann was a little disappointing.
Times
Mme. Hempel seemed to be in the best of voice.
Evening Post
Miss Hempel’s wonderful voice was in excellent condition, her vocal technic appeared to be flawless, and she seemed to be at the summit of her artistic powers. • • • She showed • • • the requisite brilliance of style to make them (florid airs) fully effective.
Use Niemack, Violinist, March 23
Evening World Her small tone is musical.
Herald
Her tone was large and genially firm. _
Evening M ail A full, sonorous tone.
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MOZART’S -COSI FAN TUTTE” AT THE METROPOLITAN.
(In center) Florence Easton (right.) as Fiordiligi, and Francesca Peralta as Dorabella. (Left) George Header as Fer rando. (Right) Lucrezia Bori as Despina. (Photos © Mishkin.)
Herald: “No finer violin playing than that of Richard Bur-gin in Mozart’s ‘Serenade’ has been heard here in recent years. It was fine in its delicacy and grace, in its understanding of the Mozartian music in the ‘gallant’ manner, in its acceptance of the music for what it was worth, and its avoidance of anything incongruously important. Charming fes-
RICHARD BÜRGIN,
Concertmaster of the Boston Symphony Orchestra.
tival music of the eighteenth century, charmingly played, with an accuracy that was never pedantic, with an ease and good fellowship, as if the violinist had been one of Elizabeth Haffner’s wedding guests, in the andante, had been filled with gentle sentiment, seeing the bride.”
Erna Merians a Promising Soprano
The young soprano, Erna Merians, gave a concert recently at the Hotel McAlpin in association with A. Feuer, tenor, and a large audience evinced much pleasure at the performances of both concert givers. Miss Merians has a dramatic soprano voice of range and volume, and revealed much temperament and feeling. She sang several arias by Puccini, some German classical songs, and an aria by Handel. Miss Merians purposes to go to Italy next fall for the purpose of finishing her training there, as she intends to devote herself to grand opera.
May Mukle Scores in Norwich
“From the first she showed herself a cellist of sound attainments, with ample technic and undeniable musicianship, so wrote the critic of the Norwich Evening Record on the day following May Mukle’s appearance in Norwich, Conn., February 15. According to the Bulletin, Miss Mukle won the enthusiastic approval of a large audience, whose insistent calls for encores lengthened the program to extra numbers.
METROPOLITAN OPERA
(Continued, from page 32)
Berat as an old woman, Grace Anthony as a young woman, and Minnie Egener as a maid. Roberto Moranzoni conducted with verve and took a curtain call with the principals.
Sunday Night Concert, March 26.
The nineteenth Sunday night concert presented a program that recalled the commencement exercises of the music department of some school or college where Main street flourishes. That applies to the length only, yet one might find in the program of the commencement exercises much of the music that the many artists listed to take part in this weekly demonstration of the Metropolitan presented. The no-encore rule established was promptly broken in the case of the pianist, who had much applause, as did all the artists Who took part. The pianist seemed to be favored for all the other artists did not have to “double” in the first and second parts of the long program. To show the extent^ of this, the list of artists included Erwin Nyiregyhazi, pianist; Yvonne D’Arle, soprano; Raymonde Delaunois, mezzo soprano ; George Meader, tenor; Carl Schlagel, baritone; Anne Roselle, soprano; Augusta Lenska, mezzo soprano; Johannes Sembach, tenor; Giovanni Martino, basso, and the Metropolitan orchestra, Wilfred Pelletier, director.
This roster of artists gave a splendid program, the audience was pleased, and the claquers had a glorious night of it. It seemed as though the non-encore rule was supplanted by three recalls of each artist, which consumed about as much time as did the usual display of duplicates of an artist’s efforts. However, the time consumed was only two and a half hours, a betterment by thirty minutes over the previous concert where three hours were necessary to complete the regular program and the repeats, due to the demands of the audience or those employed to make recalls.
But why so much in one night? Quantity does not seem to fill the Metropolitan as was shown last night. Quality will fill it every time an announcement is made that something good is to be presented. The artists were unusually good, it must be admitted, but why the display in numbers —two singers and the orchestra can draw just as many as ten, and give a splendid hour and a half of real enjoyment.
Ruffo’s Last New York Concert
Titta Ruffo’s last concert in New York this season will take place at the Hippodrome, Sunday evening, April 2. On this occasion Mr. Ruffo will be assisted by Graziella Pareto, the Spanish coloratura soprano of the Chicago Opera.
After his appearance on April 5 in the “Barber of Seville” at the Metropolitan Opera House, Mr. Ruffo will leave immediately for a two weeks’ concert tour in the west, returning to New York on April 21 and sailing at once for London, where he will sing three concerts in Albert Hall, on May 12, 31 and June 11.
Richard Bürgin Warmly Praised
At the eighteenth concert of the. Boston Symphony Orchestra, Richard Bürgin, concertmaster, played the solo for violin in Mozart’s “Haffner Serenade,” bringing the following commendation from Philip Hale in the Boston
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OPPORTUNITIES