April 6, 1922
MUSICAL COURIER
62
OPINIONS OF THE PRESS
1920, and Trojans who heard her then remembered her as possessing a rich contralto voice and a gracious and artistic personality. She was even more enjoyable last night than on the former occasion. Her personality is charming, and she sings with a freedom and a warmth that give expressive meaning to her songs.—Record.
(Headline)—Miss. Roberts, New Contralto Soloist, Delights Music Hall Audience.—Knickerbocker Press.
Press Praise for Florence Otis
Herewith are reproduced a few of the many encomiums which fell to the lot of Florence Otis following concert engagements during the month of February:
An excellent vocalist; her performance given an enthusiastic reception.—Troy Times, February 7.
Grainger Acclaimed on Tour
Percy Grainger, is at present on a concert tour and meeting with unprecedented success. Following are press comments from leading Winnipeg, Duluth and Milwaukee pa-pers covering the eminent composer-pianist s appearances with the Winnipeg Male Voice Choir:
The two numbers (“Dollar and a Half a Day” and Anchor Song”) have aroused new admiration for Mr. Grainger as a composer who shows masterly skill in the technic of choral writing and a freshness of id:as that holds the listener m delight.
A different Mr. Grainger is being heard this time over other visits. Whereas before his tone was unusual for its volume as well as its vitality, this time there is a softness and successful seeking for pianissimo effects heard at the back of the hall.
He never plays anything twice in the same way, and, therefore, he is a fund of interest.—Manitoba Free Press, March 9.
Her voice is clear, sweet and of excellent range and power. She enunciates well and shades each number artistically.—Troy Record, February 7.
Good quality—broad range, brilliance of style. Sang charmingly. Highest notes particularly clear and pure.—Poughkeepsie Eagle-News, February 9.
Mezzo voce very beautiful. High tones of clear flute-like beauty. So good is her training that it is a pleasure to watch the manner in which she handles her voice and her breathing.—Poughkeepsie News, February 10.
Her coloratura was true and she had a nice sense of variety. She sang especially well in “Le Nil” and created a veritable picture in her singing of the characteristic “La Girometta.”—Easton Express, February 11.
The two Grainger numbers, and in particular tile Anchor Song, were done superbly. The limits of space make it an impossibility to define the amazing technicalities and innovations ot them They both, however, possess the effect of the striking ancl the creatively beautiful on a first acquaintance in such a remarkable degree that they carry volumes of meaning to the average listener for their inherent intricacies and the great skill necessitated in adequacy of interpretation Both represent Grainger the superlative artist—the Grainger of tremendous essentials and discoveries, whose future Teachings and force is now impossible of a just estimate. . . •	.
And, of course, there was Grainger. Is there a more universally popular pianist before the public today ? That Peter Pannish strain in him is one of his fascinations. ...	.	.
Grainger is perhaps the world’s most picturesque pianist because he is just Grainger. . . .—Winnipeg Evening Tribune, March 8.
Miss Otis time and again delighted her audience. She was charming in the difficult arias and captivating in the simple melodies. Easton Daily Free Press, February 11.
Possesses a beautiful voice, the charm of which is accentuated by her pleasing personality and attractive appearance. A voice full,
FLORENCE OTIS,
coloratura soprano.
strong and clear, of wide range and exquisite tone quality. Elmira Star Gazette, February 14.
Grainger was Grainger at his best, than which there can be nothing more appealing or winsome.	״ ״	,
Of outstanding interest were the two chanteys written by Grainger especially for the choir (The Winnipeg Male Voice Choir) which were sung last night for the first time in public.
“Dollar and a Half a Day” was the first, a striking piece with original modern treatment of melodies and harmonies, m which many interesting orchestral and imitative effects formed a background for solo iterations. ...	c »,
The other “chantey” was a sitting of Kipling s Anchor Song, in which R. T. Halliley sang the solos. Here again the choral background had a bewildering, variety of effects, and the different treatments of the same chorus managed to suggest the lure of the sea the tang of the salt air, the bustle of ports, and all the conflicting emotions of the men who go down to the sea in ships. This was repeated, in response to enthusiastic applause. Graingei accompanied the number himself.	.
He is the same delightful artist as on his previous appearances here—some admirers even think he has improved. He plays his characteristic music in his own inimitable style, ancl displays the same crisp technic, the same beauty of tone, the same lovable personality in all that he does.—Wmmpeg-Manitoba Free Press, March 8.
Percy Grainger opened his share of the evening’s program with the well known prelude and fugue in D major, Bach-Busom. Grainger’s Bach, romanticized by Busoni, is the accepted masterly interpretation that means more to the average audience than the modern subtleties. Indeed, with only two exceptions his program dealt with the older, better known composers, always delightful. .	.	.—News-Tribune, Duluth, Minn,, March 11.
It was worth going a long way to hear those men sing A Dollar and a Half a Day,” with murmurous beat and surge of muted voices underneath the plaintive overtones of soloist and
quartet.it	thought, because one talks first of the choir that
one has forgotten Percy Grainger. One could not if one would, and strange would be the person who entertained such desire. It was his concert equally from first to last, for the two very special songs—“A Dollar and a Half a Day” and the ‘Anchor Song,” which had to be repeated. He played generously, and, of course, after his own individual manner—silken _ of finger, velvet of touch, sparkling, tremendous, or softly whispering. Journal, Milwaukee, Wis., March 12.
Percy Grainger is the sort of pianist to be heard by everyone who fancies “classical” music beyond him, because his programs are usually a judicious mixture, warranted to suit all tastes.
Beginning with a really heroic performance of a Bach-Busom organ prelude and fugue, he caught the popular ear with some o his own and others’ arrangements of old English dances and the American “Turkey in the Straw.”—Telegram, Milwaukee, Wis., March 12.
Possessor of a full sweet voice, admirably controlled and used intelligently.—Elmira Advertiser, February 14.
Delighted the audience; captivated her hearers. A voice of rare quality, tones smooth and clear, her high notes at times making one feel the thrill of the wonderful flute-like _ voice of Galli-Curci. There is also evenness and warmth in the middle register.—Shamo-kin (Pa.) Daily News.
She knew how to give her songs a touch of individuality. Her voice was full and rich.—Shamokin Dispatch, February 16.
Displayed a charming voice.—Williamsport (Pa.) Gazette, February 18.
Inspiring, soothing and technically beyond reproach. — Detroit News, February 21.
Voice wandered confidently among the high notes.—Toledo News-Bee, February 22.
Received a warm welcome, difficult to say which of the groups of numbers were most delightful.—Mansfield News, February 24.
Ethel Jones “Vies with Cellist in Recital”
When appearing recently at Des Moines, la., in joint recital with the well known cellist, Maurice Dambois, Ethel Jones, the young and popular Chicago mezzo, divided the evening’s honors with the cellist. The press encomiums follow:
The young artists presented a delightfully pleasing program. . . . Miss Jones possesses a vocal organ of much beauty, extremely well trained and skillfully controlled, and she showed gift in her interpretations. There was but little to choose in her first group for all were highly interesting. She sang many beautiful songs.—Des Moines Register-Tribune, March 4, 1922.
Ethel Jones possesses a beautiful mezzo soprano voice which she used to good advantage in her two groups. A charming personality and marked interpretative ability made her share in the program most delightful. Her songs were wonderfully well sung.—Des Moines Daily Capitol, March 4, 1922.
St. Olaf—“The Answer to ‘Jazz’”
The following article appeared in the Ft. Wayne, Ind., Journal Gazette of February 2:
The answer to “jazz” came to Fort Wayne last night in the demonstration of what music really is, from the St. Olaf Choir It is really impossible to exaggerate the importance of the musical crusade of this remarkable organization from a little Lutheran college in Minnesota. All over the land it has been loaded down with laurels. To the members of the choir their work is their life mission. It is with them a form of proper worship. And they take wherever they go a breath of fresh and wholesome air into
Martha Phillips Heard in Providence
Martha Phillips, soprano of New York, was soloist at the concert given by Verdandi, the Swedish male chorus, of Providence R I., on the afternoon of March 19, and was exceedingly well received. Two of the dailies reviewed her part ,in the program as follows :
Mme Phillips has been heard here on former occasions. Yesterday she was particularly successful in her song groups In the English songs, she sang with a light pure tone quality that yon the regard of her hearers. The old Handel air was given with simplicity of style and smooth legato, and My Lovely Celia was invested with much vocal sweetness. The Hadyn song, and others of the florid type revealed her ability to execute difficult passages with certainty and ease. The Grieg song “En Drom, was the most effective of her	second	group. ... The singers	voice is delightfully free and	pure. .	. . Her performance	won such generous
applause that extras were added. To her pleasing vocal gifts, Mme. Phillips brings a very attractive stage presence.—Morning Journal, March 20.
In her group of songs she revealed a soprano voice of a pure and sympathetic	quality	and in the singing of	the	fine old Handel
aria and “My	Lovely	Celia” she evidenced	no	little skill and
much artistic sincerity. In her group of Swedish songs the singer revealed a rare degree of skill in song interpretation and in her aria from “The Barber of Seville” Mme. Philipps showed a good command of coloratura and vocal technic. She responded to several encores.—Evening Tribune.
Roberts Soloist with Troy Vocal Society
Emma Roberts, contralto, was soloist with the Troy Vocal Society on March 9 and delighted a large audience with her artistic singing of a well arranged program. I he critics were enthusiastic in their praise of her work, as witness the appended extracts from various papers:
One of the songs apostrophized the Queen of the Night, and Miss Roberts was certainly the queen of last night. In the Quantity of her contributions to the evening s exercises and in fte commanding fullness of her voice and sweep of her artistry Miss Roberts could safely claim the adjective regal. . . . Miss Roberts has all the requisites of a concert singer a sweet voice with adequate volume for every climax; praiseworthy clearness ’ill enunciation in every language which she uses; linguistic familiarity, thorough knowledge. of her rase and_,thethl״d¿^¿® vet irresistible temperament which takes as by right the mastery of an occasion. It is always a pleasure to testify to art and to acknowledge its worth, even when both native and acqun ed
The songs presented so attractively by Miss Roberts included cplortions from many tongues and from many schools. .	. •it
would be a long occupation to recapitulate her varied program presented with such changeful versatility—Times.
Miss Roberts was not a newcomer to Troy. She sang under Chmmatk auspices with the Russian Symphony Orchestra m
EMILY HARFORD AVERY
Accompanist and Coach
££& DAVID BISBHAJVI
Private Studio: 63 West 56th St., New York	Phene Circle 9026
Coach and Accompanist to
MART1NELLI
for six years Studio: 2231 Broadway, New York Phone Schuyler 6598
ROXAS
Vocal Coach
E
M
I
L
I
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HENRY F. SEIBERT
CONCERT ORGANIST
Trinity Church,.......Reading, Pa.
Allen McQUHAE
Tenor
Management MUSIC LEAGUE OF AMERICA 8 East 34th Street, New York
GEORGIELLA LAY
PIANIST
Interpretative Programs Manacemsat: HARRY H. HALL. 101 Park At*.. Room. 1111 Ntw Tsrk City
MRS. EDWARD MacDOWELL
Programs of MacDowell Music
Proceeds of these recitals revert unreservedly to the MacDowell Memorial Association.
Address: PETERBORO, NEW HAMPSHIRE.
STEINWAY PIANO
John BLAND TENOR
Master of Calvary Choir	VOICE PRODUCTION
ARTHUR R. HARTINGTON, Assistant
20 East 23rd Street, New York. Telephone 328 Gramercy
SOUSA AND HIS BAND
JOHN PHILIP SOUSA, Conductor
Now Booking Season 1922-1923
HARRY ASKIN, Mgr.
1451 Broadway	New York
FREEMANTEL
Tenor
437 Fifth Avenue (4th floor) New York
GIUSEPPE
AGOSTINI
Original Rudollo In “Boheme”
GUEST-ARTIST SAN CARLO OPERA COMPANY UNTIL MAY.
Address Communications:
A. BAGAROZY, 35 West 42d St., New York
LEON RAINS
VOCAL INSTRUCTION
Studio: 292 West 92nd Street -	- New York
T.lctphon. RIvaraM. (411
HARRY H. HALL, Manager
and
GABRIELLE ELLIOT, Associate
101 Park Ave., New York City
PRESENT FOR SEASON 1921-22
soprano: Lydia Lyndgren, dramatic soprano: Franklin Cannon, toe distinguished pianist; Ann Thompson and Earl Meeker, pianist and baritone, in joint recitals; Marguerita Sylva, mezzo soprano; Antonio Rocca, dramatic tenor; Georgielia Lay, pianist, interpretative urograms; André Polah, Belgian violinist; Mrs. George Lee Bready, u opera recitals; Jessie Masters, All-American contralto; Leila Topping, pianist and Vladimir Dubmaky. cellist in joint recitals.