MUSICAL COURIER
April 13, 19 22
with coloratura soprano voice. Scales of astonishing fluency, a facile thrill, a delicate pianissimo and effortless high G’s and A’s were revealed in his debut in the “Barber of Seville” at the Cannes Opera House. So great was his success that he was immediately engaged by Director Reynaldo Hahn fo'r the coming season to sing the leading baritone roles.
Kathryn Meisle in Demand
Totally unknown six months ago, having made her first appearance October 16, 1921, as soloist with the Minneapolis Symphony Orchestra under Emil Oberhoffer, who had heard her sing a few months earlier and engaged her immediately, Kathryn Meisle, the contralto, is today a busy artist, much in demand. Her fame has spread rapidly. The success of her Chicago recital (October 23, 1921, under F. Wight Neumann’s management) and her re-engagement by that severely critical impresario for a recital November 7, 1922, and also her recent triumph at her Boston debut, to mention but a few appearances, have helped to add numerous important engagements to her list. The most recent ones are contracts to appear as soloist with the Cleveland Symphony Orchestra at Youngstown, Ohio, on May 6, and as soloist with the New York Banks’ Glee Club, under the baton of Bruno Huhn, at Carnegie Hall. This latter engagement will be Miss Meisle’s first appearance before a New York audience, an event looked forward to with no little pleasure by the young newcomer. The next appearance after her New York date will be at the Ann Arbor May Festival, where she will give the song recital of the festival. American composers to be featured on this occasion are Charles T. Giffes, Horace Johnson, Emerson, Whithornc and Frank LaForge.
Peterson “A Hit, By Gosh”
The following is an echo of May Peterson’s appearance in Princeton, N. J., which was published in the college paper, The Daily Princetonian:
MAY PETERSON REMINISCES.
(“. . . She first studied in Florence, Italy, under Mme. Bar-rochia, and in Berlin, under George Fergusson, making her debut as a public singer in Oshkosh.”—D. P.)
Florence, ah Florence, I loved you As I soh-lah-te-doed through your echoing streets.
My virginal warblings moved you.
The boatmen on Arno were touched by my tweets.
Duomo and Uffizi heard
Mme. Barrochia’s singing bird!
And then Berlin the'festive!
Old Fergusson rumbled and ‘hoched’ my Es.
My musical soul grew restive As I dreamed of the message I’d take overseas
Of Wagner and excellent beer,
Of love and the vision clear!
Then home with a bursting heart To thrill and exalt American ears
With my exquisite, hard won art;
To win them with song, to bring tears!
I was a hit, by Gosh,
That night in old Oshkosh!
—Jasmine
forderung,” Strauss ; “Lament of Ian the Proud,” Griffen ; “Soft Footed Snow,” Lie; “Love Went a-Riding,” Bridge; “Little Bateese,” O’Hara; “Aubade,” Gerrard-Williams ; “A Dream,” Grieg; “Air d’Azael,” Debussy; “Le Passant,” Georges Hiie ; “Priere du Cocher du Soleil,” St. Léger ; “L’Automne,” Février; “L’Heure Espagnole,” Ravel. Walter Gude, at the piano, was a sympathetic accompanist. When Tom Burke sang “Leetle Bateese, that humorous and touching French-Canadian poem, enthusiasm rose to such a high pitch that he had to repeat the song. But throughout the French and German songs the audience did not respond as it should to the extreme delicacy and poetic quality of his voice. Was it that they had expected to hear good old Irish songs? Some commented afterwards that they could not hear the soft parts and that he “underestimated the carrying capacity of his voice.” Yet the writer sat in the last row and lost not one note.
Notes.
On Tuesday morning, March 7, at Keith's Theater, Kreisler was heard again by a large audience.
At the National, on March 10, Pavlowa and her Russian Ballet were welcomed with great enthusiasm.
On Sunday evening, March 5, Francis Rogers gave a song recital at the Willard Hotel. He is a great favorite. His wife was heard for the first time in her original monologues and won well deserved applause.
Two unusual compliments have just been paid to the musical abilities of Julia McChord Rogers, a Washington woman and social secretary of the Women’s Congressional Club of the National Capital. Publication of her latest composition—“Washington D. C. March”—in a National Capital newspaper attracted the attention of John Philip Sousa, with the result that the famous March King and his band played Miss Rogers’ march at the concert at the National Theater. Sidney Lloyd Wrightson, director of the choir at the Church of the Covenant, programmed one of her sacred songs, “Jesus, Blessed Saviour,” which was sung by Miss Bolin, soprano.	E. H.
Schnabel to Return Next January
Unexpectedly called back to Europe last month, Artur Schnabel, the pianist, had to postpone his concert tour of the country until next season. He will be back here next January, and after a New York recital will leave immediately to fill concert engagements which will take him as far as the Coast and return.
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WASHINGTON HEARS THE
CINCINNATI ORCHESTRA
De Reszke Baritone at Cannes Opera
Recent advices received by Harold Hurlbut from Villa Vergemere, Jean de Reszke’s home on the Riviera, enclose newspaper accounts of the great success in opera of Juan Lorenzo, the Spanish baritone. A hero of the great war, Lorenzo was discovered gassed lying in a hospital ward. On his recovery he was received with great cordiality by M. de Reszke, to whom is to be credited the young artist’s abilities as vocalist and actor, the great tenor being his only master. Lorenzo has a high baritone which has been trained to perform the feats usually associated
Sousa and His Band, the Flonzaleys, Tom Burke, Pavlowa, and Francis Rogers Also Give Programs
Washington D. C., March 30.—The first two weeks in March were rich in musical treats. On March 14 at the National Theater, the Cincinnati Symphony Orchestra, under the management of T. Arthur Smith, gave a concert at which Washington society turned out in full. Ysaye, the magnetic leader, offered the following program: overture, “The Barbarians,” Saint-Saëns; concerto for piano, E flat major, op. 9, Ysaye; prelude, “Parsifal,” Wagner; “Voices of the Forest,” from “Siegfried,” Wagner; overture, “Tannhäuser,” Wagner.
Ysaye’s own concerto met with unstinted applause. Its movements were admirably interpreted by Margaret Mel-ville-Liszniewska, who combines forcefulness with delicacy of touch and richness of tone to a rare degree. She responded to an encore. To the Wagner numbers was accorded pre-war enthusiasm.
Ysaye had his forces well in hand and they did excellent work, fully deserving the welcome they received.
Big Audience Hears Sousa.
On March 13, in the afternoon, Sousa gave a stirring concert at the National Theater, where a capacity audience greeted this popular leader and his band. In addition to Goldmark’s “In Springtime,” the finale from Tschaikow-sky’s fourth symphony, the band played two of Sousa’s latest compositions, “The Fancy of the Town” and “Keeping Step with the Union,” and half a dozen of the composer’s marches were given as encores. There were four soloists—Mary Baker, soprano; Florence Hardeman, violinist; John Dolan, cornetist, and George Carey, xylophonist, each of whom responded to at least two encores.
Flonzaleys Close Season.
On the evening of March 13, at the Masonic Auditorium, the Flonzaley Quartet gave as its last concert of the season the following program: quartet in E flat, op. 50, No. 3, Haydn; quartet in A minor, op. 41, No. 1, Schumann ; “By the Tarn,” Goossens, and scherzo, Mendelssohn. “The Lonely Shepherd,” by Speaght, an early Mozart minuet, and “Drink to Me Only with Thine Eyes” were added as encores in response to the generous applause given by the large audience, loath to hear the last of its well loved performers.
Том Burke on St. Patrick’s Day.
On March 17, at the National Theater, in the last of T. Arthur Smith’s Ten Star Concerts, Tom Burke was greeted by an audience which spilled over onto the stage and stood at the back, for the gallery cannot yet be used. The holiday spirit was in the air and there were many “a-wearin’ o’ the green” who poured in to hear the Irish tenor. He gave the following program : “Cease, Oh My Sad Soul,” Purcell; “I’ll Sail upon the Dogstar,” Purcell; “Sommi Dei,” Handel; “Sound an Alarm,” Handel; “Es Schrie ein Vogel,” Sinding; “Schmerzen,” Wagner; “Traum durch die Dämmerung,” Strauss; “Heimliche Auf-
CHARLES CARVER’S
At Aeolian Hall, March 27,
NEW YORK AMERICAN (Max Smith) :
He not only revealed to advantage his finely sonorous voice—a basso cantante—but disclosed interpretive taste and skill.

THE EVENING MAIL (Katharine Spaeth) :
His voice is extremely pleasing, produced with no obvious effort. There is a certain restful dignity about Mr. Carver’s singing, but it is not oppressive.
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EVENING WORLD (Deems Taylor) :
Concerts by bassos are unusual and inclined to be monotonous, but Mr. Carver succeeded in making his interesting. His voice is flexible and agreeable, of good quality.
NEW YORK TELEGRAPH (Ruth Crosby Dimmick) :
Mr. Carver has much to give his hearers, being possessed of an unusually fine musical voice, splendid diction and deep resonant tone. Also a really remarkable pianissimo for a basso allows for more variety in expression than one expects of a low voice.
Success i Third Recital
NEW YORK HERALD' (W. J. Henderson) : _ He used his good voice with much skill, his diction in English, German and French was praiseworthy, and he showed a fine understanding of the text. He repeated Brahms’ “Sapphic Ode” and Laparra’s “Des pas de sabots.” Two beautiful songs admirably sung were Rachmaninoff’s “In the Silence of Night” and “The Lord Is Risen.” Frank La Forge at the piano gave excellent accompaniments and contributed his two lyrics, “Longing” and “A Heart Mislaid,”, to the numbers in the list.
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NEW YORK TRIBUNE (H. E. Krehbiel) : Charles Carver showed marked improvement over other seasons in the control of his voice. To all of the composers represented, including Brahms, Grieg, Strauss and Rachmaninoff, Mr. Carver did full justice as an interpreter. Admirable accompaniments were contributed by Frank La Forge.
Address: W. B. Ball, 1472 Glynn Court -	- Detroit, Michigan
Or care of Frank La Forge, 14 West 68th Street, New York