55
from an old Handel opera, notable for its sustained legato qualities, was the first number. Following this came Patti’s (1737) “To Zelina,” Gretchaninoff’s. “Over the Steppe,” Augusta Holmes’ “Au Pays,” and the beautiful aria from “Gioconda.” Here the singer displayed a splendid quality of tone on his high notes, and was compelled to respond to an enqore. The third group included Italian songs and Rachmaninoff numbers, which were also received with generous applause. “Moon of My Delight” from “In a Persian Garden" was interpreted with rare feeling and vocal finish. As an encore Mr. Karle gave “From the Land of the Sky-Blue Water” (Cadman). The program was closed with a group of modern songs. Mr. Karle’s voice is uncommonly sweet and his sense of melodic line is strongly developed. He catches the general atmosphere of the songs and enunciates them with rare distinction. Thomas George at the piano played beautiful accompaniments.
R. McC.
as the Consul and Rita Fornia as Suzuki. Moranzoni conducted con amore.
“La Boheme,” April 8 (Matinee).
On Saturday afternoon, April 8, Puccini’s delightful opera was repeated at the Metropolitan with Bori in one of her best roles—Mimi. Charming and petite in the part she makes a deep appeal through her simplicity and unaffectedness. She feels the part and makes her listeners do likewise. Vocally she was superb and the audience gave her a genuine demonstration of approval. Martinelli was a rich voiced Rodolfo, Didur appeared as Schaunard, while De Luca was a capital Marcello. In attractive Yvonne D'Arle, Musetta had a worthy representative. She sang well and acted with sprightliness.
“Andre Chenier,” April 8 (Evening).
Giordano’s “Andre Chenier” was heard again at the Metropolitan on Saturday evening, April 8. The performance was a smooth and well sung one, both by the principals and chorus. Claudia Muzio has made Madeline one of her strongest roles, and her interpretation aroused much enthusiasm. Danise was Charles Gerard and gave a creditable account of himself as he always does. The title role was in new hands—Manuel Salazar’s; he sang well and received hi.־־, share of the honors. Moranzoni conducted with his usual skill and effectiveness.־
Sunday Night Concert, April 9.
The real ■novelty of the Sunday night concert was the presentation- of an “Ave Maria” by Giulio Setti, chorus-master of the Metropolitan Opera, who conducted this as well as the balance of the program. It is a well constructed work with a number of very beautiful passages. Both the chorus and the orchestra did their best to make it a success, and not only did they succeed, but the audience so liked it that Mr. Setti was given quite an ovation.
In Gounod’s “Gallia” cantata, Grace Anthony had the soprano solo, and did well with her part. The second half of the program was given over to “Cavalleria Rusticana” in concert form, in which the roles were capably handled by Peralta, Perini, Harrold, Picco and Egener.
Mr. Setti chose the overture to “William Tell” as the opening selection of the program. There was the usual large audience.
Moore and Kortschak in Sonata Recitals
On February 16 Francis Moore and Hugo Kortschak gave a sonata recital at Aeolian Hall, which proved to be a genuine success. All great composers of music have contributed to the chamber music literature, making it possible for those who specialize in this branch of the art to offer programs of interest and beauty.
Mr. Moore has made himself known as a splendid chamber music player in his numerous appearances in New York and throughout the country, while Mr. Kortschak introduced himself to New York as the initial violinist of the late Berkshire String Quartet. Evelyn Hopper, the New York manager, is booking these two artists for the coming season.
First Choral Art Society Concert
The Choral Art Society of Philadelphia, Pa., will give its first concert in the Academy of Music on the evening of May 9, for which an interesting program has been arranged by H. Alexander Matthews, director of the organization. The soloist will be Wilhelm Bachaus, pianist, and accompaniments will be furnished by Helen Boothroyd Buckley, Charles K. Souder and Frank A. Nicoletta.
Florence Otis for D. A. R. Congress
Florence Otis, soprano, from Claude Warford’s studio, has been selected as soloist for the opening ot the thirty-first D. A. R. Congress at Washington, D. C., April 18.
MUSICAL COURIER
ballads, the last of which were wildly acclaimed. His charming personality, sincere artistry, and sweet, mellow voice made a favorable impression on Winnipeg, and it is hoped he will return. Immediately after his Winnipeg concert he left for Stockholm, Sweden, where he gave several command performances at the Royal Opera House.
Dame Clara Butt sang to a capacity audience in the Board of Trade Building February 27, an auditorium which seats 2,600 persons. Her lower notes were still glorious and of organ fullness, while the songs she sang were almost entirely in English and of a kind sure to appeal. Her reception was little short of an ovation, especially when she rendered the patriotic anthem, “Land of Hope and Glory,” with the audience joining in the chorus.	J. T.
Zanesville, Ohio, March 111922 ,׳.—Under the auspices of the Thursday Matinee Music Club, Theo Karle, tenor, gave his long awaited recital at the high school auditorium, March 9. The program charmed his listeners. The aria
MARTINELLI SCORES UNIQUE SUCCESS AT METROPOLITAN OPERA IN ROLE OF SAMSON
His First Appearance in Part so Long Associated with
Caruso Wins Him Many Tributes—Farrar Makes Final Bow in “Madame Butterfly,” the Audience Demanding a Speech at the Close—“The Barber,” “Boheme” and “Andre Chenier” Repeated —A New Choral Work by Setti Presented Sunday Night Loreley,” April 3.
On April 3 a large audience thoroughly enjoyed an excellent repetition of Catalani’s “Loreley” with Claudia Muzio in the title part. Miss Muzio, as upon previous performances, lent all her vocal richness and charm to the role, and was cordially received by the appreciative audience. Marie Sundelius was again the sweet voiced Anna, while others appearing in their respective parts and adding considerably to the general enjoyment of “Loreley” were Jose Mardones, as Rudolph; Beniamino Gigli, as Walter, and Giuseppe Danise, as Baron Hermann. Moranzoni conducted admirably, while Rosina Galli and the ballet also came in for their share of the evening’s honors.
“Barber of Seville,” April S.
“The Barber” was repeated Wednesday night, but with a new Rosina—Angeles Ottein. The writer heard her the Sunday night before, when she was in better voice, yet nevertheless she sang splendidly, although she showed lack of experience in her acting. For the lesson scene she chose the Arditi waltz, “L’Incantatrice,” which brought her quite an ovation. Others in the cast were Harrold (the Count), Malatesta (Dr. ,Bartolo), De Luca (Figaro), Didur (Basilio), Berat (Berta). Papi conducted.
“Samson et Dalila,” April 6.
It was an interesting performance of “Samson et Dalila” because Giovanni Martinelli was appearing as Samson for the first time. It is not too much to say that he surpassed even the high expectations founded upon his years of good work at the Metropolitan. The role proved to be one eminently fitted to him. He was in best form and poured out the beautiful tones of his voice prodigally. As an actor he did some of the best work that the Metropolitan has ever seen from him. In fact he justified in every way Mr. Gatti-Casazza’s judgment in selecting him for the role so long associated with Caruso. His was an unqualified success. Julia Claussen, the “Dalila,” was satisfactory both in singing and acting. It is some time since she sang the role here and her reappearance was welcome. She was a witty partner to Martinelli’s Samson. Clarence Whitehill, for whom the indulgence of the audience was asked because of a cold, showed very little signs of it indeed, singing well and acting with dramatic force. Hasselmans conducted.
“Madame Butterfly,” April 7.
It was rather a notable evening at the Metropolitan on Friday, April 7, for the most famous Butterfly of all, Geraldine Farrar, was making her final appearance there —at least for a time—in what is perhaps her best known role. There is nothing new to be said about it. It always has pleased the public tremendously; it did please them on the occasion. At the end there was the prolonged demonstration for Miss Farrar which has become the regular thing since her going was announced. Finally she made a speech:	"This has been my last Butterfly. I have
tried to give you my very best and I want you to have the most beautiful memories of me.” With her were Gigli, singing Pinkerton in lovely tones, and two others long-associated with Miss Farrar in this work, Antonio Scotti
A pril 13, 1922
ACROSS THE COUNTRY
(Continued from page S3.)
given the entire evening. The nocturne in E minor, Chopin-Auer, was well received, but probably the number which was liked the best was Dance No. 7, in A major, by Brahms. The applause was almost deafening following the rendition of this number. “Walter’s Prize Song” from “Die Meister-singer,” by Wagner, was a well rendered number, and showed the ability of the artist. He also played "Introduction and Tarantelle,” by Sarasate. Heifetz’ technic is almost perfect.	C. E. H.
Vancouver, B. C., March 11, 1922.—The first four days of March marked the fourth annual season of the San Carlo Opera Company in Vancouver. Fortune Gallo has brought his organization to a much higher standard than that of last year. Special improvement was evident in the orchestra; the scenery and costuming were rich in appearance and appropriate. The engagement had an anspicious opening in a splendid performance of Puccini’s “La Boheme,” with Saroya, Charlebois, Agostini and Valle as the principals. The performance of “Rigoletto” was notable for the phenomenal success of Josephine Lucchese in the role of Gilda; her aria in the second act served to reveal her skillful use of the beautiful voice she has been endowed with, and at the instant of the cessation of its last note a thunder of applause broke out. During the rest of the evening she was lauded on every possible occasion. Her impersonation appealed to the emotions, though she has not as yet developed some necessary stage technic. Tommasini, as the Duke, also scored in his first local appearance. Royer met the heavy demands of the jester. De Biasi sang Spara-fucile with reverberant richness of voice. “Madame Butterfly” was given with Tamaki Miura in the title role; her famous delineation was acclaimed by those who had the opportunity to hear her, for, though capacity houses were the rule, an unusually large number were turned away on this occasion. Boscacci proved an able protagonist for Miura, and Valle imparted prominence to the Consul with his virile baritone and finished histrionic abilites.
Josephine Lucchese, as Olympia, in “Tales of Hoffman” was a vision of dainty loveliness, and sang and acted so en-trancingly that the audience was enraptured. Sofia Charlebois gave a convincing portrayal of Giulietta and sang with charm. Agostini appeared fairly to revel in the part of Hoffman, and in singing, verve, characterization and byplay gave an artistic performance. De Biasi made a gruesome Dr. Miracle.
In the concluding offering Bianca Saroya appeared as Aida. Her regard for nuance and tonal coloring was well shown in the conflicting emotions of her vocal soliloquies, while her power in sustained dramatic singing contributed largely to the success of many scenes. Nina Frascani, in singing and poise, was a regal Amneris. Gaetano Tommasini appeared a martial and picturesque Radames, and his impassioned vigor rang true. De Biasi lent opulent voluminousness of voice and sacerdotal dignity to the part of Ramfis. Ernesto Knoch, whose efficient baton was responsible to a great extent for the consistent success, was greeted with a hearty tribute of applause as he took his stand at the beginning of the fourth act.	E. R. S.
Wichita, Kan., March 17, 1922.—Schumann Heink has been the outstanding artist to appear here recently. Her program was given at the Forum to a vast audience, and she was the same satisfying artist she has always been. Her popularity with Wichita audiences increases with each successive visit.
Wichita entertained the Kansas State Music Teachers’ Association, February 22 to 25, and a general “get together” meet resulted. Interesting programs by local State artists, and the regular discussions and round tables took up the time. E. Robert Schmitz was the chief artist presented, and he created a profound impression at this, his first Wichita appearance. This concert was not well attended, but music lovers not attending missed a pianistic treat. His program was given at the Crawford Theater, and all other programs were at the Congregational Church. No real definite action by the State meet can be reported. The customary credit system was discussed, but no widespread action developed. It was simply the regular annual meet and a renewal of friendships among the State musicians.	R. B.
Winnipeg, Can., March 11, 1922.—Winnipeg’s winter musical season has been one of the most successful in the city’s history, in spite of “hard times.” There have been many concerts by local clubs and church organizations, which were well patronized, and also visits from artists of outstanding reputation.
Joseph Hislop, who appeared here January 25, was one of the most delightful tenors ever heard in this city, and drew a large audience of music lovers and Scottish enthusiasts bent on enjoying Burns’ night. He sang a varied program of operatic numbers, English songs and Scottish
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