A pril 6, 1922
MUSICAL COURIER
64
AMUSEMENTS
SELWYN THEATRE Now
Sunday Nights, Mar. 19, 26, Apr. 2, at 8:30; Tues. & Fri. Afts., Mar. 21, 24, 28, 31; Apr. 4, 7, at 3.
Ruth Draper
in ORIGINAL CHARACTER SKETCHES.
Tickets, $2.75 to 55 cts. Mgt. James B. Pond, 50 E. 42d.
Direction J. L. Plunkett, Broadway at 47th Street Week Beginning April 9.

Held over for Second Week by popular demand
CHARLES CHAPLIN
In His Latest Laugh Provoker
THE STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
B’way at 51st St. “Subway to Door״ EDW. BOWES, Mng. Dir.
Sunday, April 9.
CAPITOL
World's Largest and foremost Motion Picture Palace
Week Beginning
GOLDWYN Presents
“WHEN ROMANCE RIDES״
A Goldwyn Picture
CAPITOL GRAND ORCHESTRA ER^n^0ErE
Presentations by S. L. ROTHAFEL
S^aram&iuU SPicIures^
Theatres under the direction of Hugo Riesenfeld
RIVOLI I 49th St** I ContInuolls Noon to 11 P. M.
“THE GOOD PROVIDER״
with VERA GORDON and DORE DAVIDSON
A Cosmopolitan Production ORIGINAL PIANO TRIO
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
RIALTO
Continuous Noon to 11 P. M.
I Times l Square
DOROTHY DALTON
In “THE CRIMSON CHALLENGE״
Edoardo Albano—Grace Eastman FAMOUS RIALTO ORCHESTRA
HUGO RIESENFELD and Joseph Littau conducting
Broadway I Continuous | Eighth at 44th St. I Noon to 11 P. M.| Big Week
RITERION
THE LOVES of PHARAOH”
Directed by Lubitsch
with Emil Jannings, Dagny Servaes, Paul Wegener, Henry Liedtke.
Egyptian Temple Dance—Intimate Orchestra
c
Lalo, has a commanding figure well suited ׳to heroic heroines. Her voice has true dramatic quality, resonant, and as commanding as her stature, but it is also flexible, lending itself easily to florid passages. She sings intelligently, not foolishly relying merely on volume and force. It would no doubt be a pleasure to hear and see her in opera, for it is said that she acts dramatically and with understanding, but Boston is without its own opera and neither New York nor Chicago ventures its operatic fortune in this city.”
Caruso Biography to Appear
Little, Brown & Company, of Boston, announces the early publication of a biography of the late Enrico Caruso, written in collaboration by Pierre V. R. Key, editor of the Musical Digest, and Bruno Serato, Caruso’s secretary. This will be a biography authorized by the immediate family of the famous tenor. Mrs. Caruso and Giovanni Caruso, Enrico’s brother, are co-operating with the authors in securing authentic material.
of Spring” was the artistic feature. Mr. Rothafel is unrivaled when it comes to arranging a combination of music, dancing and color, both in setting and lights. It has been many weeks since he has produced a number more effectively or sincerely interpreted. Caroline Andrews, soprano, sang the Strauss music, while Gambarelli, Oumansky, Niles and Zallou danced.
The Capitol also showed last week the Fox film, “The Interior of the Crater of Vesuvius.” As a daring fete, perhaps this photograph of the mighty volcano has never been excelled. To those of us who have seen some of the marvellous, terrific wonders of this kind, felt the same awe and fearfulness at viewing this film. It is a picture that should be shown in every town in the country.
“Turn to the Right” was the feature. A very good film, made from a play that was the outstanding success in 1917.
The Strand.
Nahan Franko was again the guest soloist with the Strand Symphony Orchestra for last week. Mr. Franko enjoyed such a splendid welcome at his first appearance several weeks ago that the Strand management had him return at the earliest possible date. He played his famous “Cat Overture” as an encore that quite brought the house down. Estelle Carey, soprano, sang two numbers. She has been a member of the staff for a couple of seasons, and her work is very familiar with patrons of this theater. The Strand Male Quartet was also one of the principal musical numbers on the program. A colorful setting to illustrate a small band of gypsies was created for them, and they sang two numbers that were appropriate. This was used as a prologue for the feature picture.
“Gypsy Passion,” a French film that was shown at the Town Hall several months ago, was the picture for the week. It is a most important production from many angles. First the old Gypsy was played by the great French actress, Madame Rejane. It has always been a debatable question and many, particularly Frenchmen, have always considered Madame Rejane the most versatile, consequently the greatest French actress. At any rate she possessed a superb art. It is tragically regrettable that there are no pictures of her in her prime. Her acting in “Gypsy Passion” is a marvelous screen portrayal, and the death scene is something that has rarely been excelled in pictures.
Another notable feature was the fact that Jean Richepin, the distinguished French writer, was also a member of the cast. The picture lacked the lighting facilities that the American film has, but this did not seem to detract. The French picture will remain a great achievement. The program ended with a new Ben Turpin comedy.
May Johnson.
A New Palm Sunday Song
(Boosey & Co., New York and London)
“RIDE ON, RIDE ON IN MAJESTY!”
By Vernon Eville
The composer of this sacred song, especially suitable for Palm Sunday, is organist and choirmaster of St. Andrews’ Church, South Orange, N. J., and writes like an experienced, capable man. He knows the voice and its capabilities, as evidenced in his operetta, “Isle O’Dreams,” produced in 1910, and in this sacred song. Other published compositions of his include concert and popular songs, piano and orchestral numbers, anthems and arrangements for orchestra and strings. One of America’s leading singers not long ago said of him:	“No composer of recent time has touched as re-
sponsive a chord nor imbued his music with quite the same dignified spirit and devotional atmosphere.” Leon Rothier, of the Metropolitan Opera Company, praised Eville’s “Out of the Deep,” and it is evident that in him one finds a composer of practical value as well as artistic sensibility. “Ride On” (poem by H. H. Milman) is an imposing song, sincere, forceful, echoing the last ride of the Saviour, naming the palms, the triumph over sin and death, the angel army. His lowly pomp, His meek head, then with a final shout of triumph, “Then take, O God, then take Thy Power, and Reign!” it ends fortissimo. In three keys.
Philip Hale on Jeanne Gordon
Jeanne Gordon, the popular contralto of the Metropolitan Opera Company, made her first appearance in Boston before a capacity house three weeks ago. Philip Hale, the noted critic, wrote in the Boston Herald as follows: “Miss Gordon chose for her arias first the invocation to the Evil Spirit, sung by Ulrica in “The Masked Ball.” While the music is not of Verdi at his greatest, and is more for the operatic scene than for the concert room, it nevertheless serves to display a voice of liberal compass and native spirit. Miss Gordon, who has sung at the Metropolitan this season in operas by Wagner, Verdi and
MUSICAL COMEDY—DRAMA-MOTION PICTURES
(Continued from page 40)
able Crichton,” with Thomas Meighan as Crichton, Gloria Swanson as Lady Mary Lasenby, Lila Lee as Tweeny, and Bebe Daniels as the king’s favorite. The overture was Tschaikowsky’s “1812,” played with virility and artistry by the Rialto Orchestra, Hugo Riesenfeld and Josiah Zuro conducting. Inga Wank, mezzo, and Martin Breffel, tenor, made a Post nature picture, “The Voice of Gladness,” the more effective by their fine singing, albeit they were invisible to the audience. An Earl Hurd comedy, “Working on an Idea,” completed the bill.
Hugo Riesenfeld Makes Another Gift to Staatsoper.
Word has been received that on March 21 Hugo Riesenfeld, general manager of the Rivoli-Rialto and Criterion theaters, made a gift of $200 for suffering veterans of the Staatsoper Orchestra, of which he was formerly a member. This is the third contribution that Mr. Riesenfeld has made to this organization.
Manager of Vienna Opera House Visits Hippodrome.
Hans Gregor, manager of the Vienna Opera House and formerly also manager of the Imperial Opera before the war, has been visiting in New York for the past few weeks. One of the things that interested him most was his visits to the great Hippodrome, the purpose being to study the mechanics of the big attraction and to see how such an enormous stage and its production were handled.
The Hippodrome will close earlier this season than usual. It is reported to be in the last weeks of its run. Several new attractions have been added. Owing to the great fad of the Radio, a novelty is being offered beginning this week which shows an automobile being controlled by radio.
The Capitol.
An evening’s entertainment filled with diversified interest was experienced at this theater last week. It was uncommonly good in its entirety." At the first program on Monday evening Erno Rapee, conductor, directed his musicians in a spirited interpretation of Offenbach’s “Orpheus” overture. Frederick Fradkin, the new concertmaster, played the violin solos. He received a hearty welcome at his debut with the Capitol Symphony Orchestra. Mr. Rapee, of late, has added novelty to his directing by giving a tempo to his overtures which, to say the least, are original. This innovation is especially noticeable in familiar numbers. This is his artistic privilege and he, at least, should be admired for his independence. Just at this point it is well to state that in last week’s report, inadvertently, mention of the overture was omitted. The selection was “Capriccio Italien,” Tschaikowsky. Mr. Rapee’s interpretation of this selection was very interesting, in view o ' ׳the fact that he took it much slower than we are accustomed to hearing it. These observations are in no way intended as criticisms—they merely point out the fact that Mr. Rapee is a musician with very decided ideas, and ideas that are good.
The second orchestral number was directed by David Mendoza, assistant conductor. This happened to be an original arrangement of music that was popular twenty years ago. This number perhaps received the most spontaneous applause of the evening.
The Rivoli.
Marian Davies, in “Beauty’s Worth,” was the film feature at the Rivoli last week, and in this connection Director Hugo Riesenfeld had arranged an unusually attractive prologue. The settings and costumes were by Joseph Urban and were a faithful reproduction of a stage picture which figures largely in the film itself. Edoardo Albano, baritone, made a striking worshiper at the Hindoo shrine, and sang “A Hindoo Prayer” with equal effectiveness. Adele Burns and Janette Campbell added to the beauty of the scene with their characteristic dancing. Decidedly “different” was George D. Barnard’s “The Drummer’s Escapade,” in which the effects were well done by Max H. Manne. The familiar and ever popular “Poet and Peasant” overture, Von Suppe, was played by the Rivoli Orchestra, Frederick Stahlberg and Emanuel Baer conducting. It was well played and the audiences appeared to be very appreciative. The Rivoli Pictorial is always interesting, but last week it was unusually so through the inclusion of a remarkable set of pictures entitled “Vesuvius Conquered,” a Fox special, which showed with ghastly realism this hitherto mysterious inferno. Nor is that realism made any less so by the fact that the film ends with a crash, caused by the wrecking of the plane. Fortunately, its two daring occupants, an Italian girl aviatrice and the American camera man, escaped with their lives. A Ben Turpin comedy, “Step Forward,” completed the interesting bill.
S. L. Rothafel’s own interpretation of Strauss' “Voice
EFFA ELLIS PERFIELD DIRECTORY OF TEACHERS
Phone: Bryant 7233
By EFFA ELLIS PERFIELD, 41% West 45th Street, New York City
NORTH CAROLINA
IRENE WEAVER Piano and Class Work Normal Teacher	Franklin
FOREIGN
CANADA
CARA FARMER Piano and Class Lessons, Demonstrations Certified Normal Teacher Mothers’ Creative Music Course 750 Bathurst,	Toronto
EMIL DÁNENBERG Pianoforte Instruction Pupil of Teichmuller (Leipzig)
The Albany,	Hong Kong
CHINA
IDIS LAZAR Concert Pianist and Teacher 50 Morning8ide Drive, Apt. 42, New York Phone 7770 Cathedral	MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W., Brooklyn Phone: South 3688 J.
GLADYS MURGATROID Piano and Class Work 361 Sterling Place, Brooklyn Phone : Prospect 5542	
	NEW JERSEY ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford
MRS. W. D. REED 34 West 96th St. Riverside 4634	
	MISSOURI FLORENCE E. HAMMON State Normal Teacher Private Lessons and Graded Class Work Seven Assistants Musical Art Bldg. St. Louis
ALICE M. SPAULDING Piano, Coaching and Accompanying Scientific Muscular Pianoforte Technic Individual and Class—All Ages 234 West 74th St., N. Y. Phone : 9284 Col.	
NEW YORK
C. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone: Mansfield 1297
EDITH BEARDSLEY Piano and Classes Pupil of Xaver Scharwenka 332 West 85th St.,	New York
Phone: 8265 Schuyler
ADELE F. FAUTHARD 11 West 96th St.	Riverside 9773
RUTH JULIAN KENNARD Piano and Class Lessons 15 Claremont Ave., N. Y.
Phone: Morn. 3889