April 27, 1922
MUSICAL COURIER
24
Two of the artists announced—Marie Tiffany and George Meader—were indisposed, and so a slight change in the program was necessary.
The guest artist was Winifred Byrd, who, after all, is just Winifred Byrd—a little bit of a thing at the piano, but indeed a power to be reckoned with when she starts to play; she thoroughly delighted her auditors and was obliged to add encores. Anne Roselle, who gave an additional number in Marie Tiffany’s place, also scored no little success. It was good to hear Rafaelo Diaz again and the audience thoroughly enjoyed his artistic singing. Chief Caupolican, William Gustafson and Flora Perini also proved popular, and Gladys Axman added an encore as well as substituting at the last minute in the duet from “Tales of Hoffman” for Mme. Tiffany. Paul Eisner was at the piano for most of the numbers. The full program follows:
Song,	Brindisi, from Hamlet................................   Thomas
Chief Caupolican
Aria from Carmen..............................
Anne Roselie
Spring Song, from Die Walkiire...............................Wagner
Johannes Sembach
Aria, Re dell ’abisso, from Un Ballo in Maschera................Verdi
Grace Bradley
Aria, Una furtiva lagrima, from L’Elisir d’Amore.............Donizetti
Rafaelo Diaz
Duet,	from Aida.................................................Verdi
. Anne Roselle and Augusta Lenska
Aria,	Vissi d’arte, from Tosca................................Puccini
Gladys Axman
Piano	Solos: Love Dream........................................Liszt
The Prophet Bird............................'.Schumann
Hungarian rhapsody	No.	6.....................Liszt
Winifred Byrd
Songs ....................................................... Selected
Rafaelo Diaz
Aria, Qui sdegno non s’accende, from The Magic Flute............Mozart
William Gustafson
Song,	Am stillen Herd, from Die	Meistersinger..................Wagner
Johannes Sembach
Aria O don fatale, from Don Carlos..............................Verdi
Flora Perini
Barcarolle, from The Tales of Hoffmann....................Offenbach
Gladys Axman and Grace Bradley
Piano Solos: Improvisation.................~..............MacDowell
Etude Heroique ............................Leschetizky
La Campanella ..........................Paganini-Liszt
Winifred Byrd
Letter from Mme. Ivogun
Marie Ivogun, the young coloratura soprano, who made a good impression this year with the Chicago Opera Association and in concert, and who will return next season for concerts under the direction of her present managers, the Wolfsohn Bureau, sailed for home on Saturday, April 22. On leaving Mme. Ivogun sent the following letter to the Musical Courier:
New York, April 22, 1922.
Editor Musical Courier:
May I ask you kindly to correct an impression which seems to have prevailed, that I am a member of the opera at Budapest and consequently a Hungarian singer. It is true that by birth I am Hungarian, but by marriage I am German. Besides my entire career as an artist has been made in Germany and Austria and since my first appearance on the operatic stage I have been a member of the opera in Munich.
Sincerely yours,
(Signed) Maria Ivogun.
Reimherr’s Closing Dates of Season
George Reimherr will close his season with the following appearances: April 27, benefit concert, Carnegie Hall; 30, his third New York recital this season, which will be a Heart Song and Ballad concert, at the National Theater; May 3, a song recital at the Ampico Studios.
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OPERA STARS HEAR THE GALL OF THE SOUTH
AS BRILLIANT METROPOLITAN SEASON ENDS
Demonstration for Farrar After “Zaza,” Her Last Performance, Most Impressive—Another Remarkable and
Successful Season Closes
tion of German opera for the season and drew a large audience. Florence Easton appeared again as Isolde and gave a finished and delightful impersonation of the role. She was in excellent voice and brought depth of feeling and tonal beauty into her singing, arousing her hearers to heights of enthusiasm. The Metropolitan is indeed lucky in having such a sterling artist.
Sembach was the Tristan and sang his music well. Julia Claussen, as Brangaene, did full justice to her part, and vocally she was effective, not lacking in the tradition of the role. The Kurvenal of Clarence' Whitehill was admirable as of old.
“Zaza,” April 22 (Matinee).
In another column—“Variationettes”—is a description of the nature of the reception accorded Geraldine Farrar on the occasion of her ultimate “good bye” performance at the Metropolitan. It was an impressive close to a series of picturesque farewells extending over a fortnight or so. The matinée audience, keyed up to a high pitch of expectancy, crowded the house from parquet to gallery.
Mme. Farrar was in very good voice, sang well, and acted with all her ability to portray pathos, coquetry, and passion. Her Zaza is a notable operatic portrait. Marti-nelli also felt in fine vocal fettle and gave generously of his lovely tonal equipment. De Luca did his part resonantly, unctuously, artistically. Moranzoni conducted the thin and treacly score as though it were a masterpiece. He got his reward by being publicly kissed by Mme. Farrar. Messrs. Martinelli and De Luca also received osculatory treatment from the prima donna and in consequence felt that for once they were as important as the conductor. Mmes. Howard and Egener filled the other female roles very effectively.
“La Forza Del Destino,” April 22 (Evening).
Judging by the line which extended around the Metropolitan Opera House on Saturday evening there must have been scores of persons—perhaps hundreds—unable to obtain admission to the last performance of the season, Verdi’s “La Forza del Destino.” Frances Peralta made a lovely Donna Leonora; Danise and Salazar were both in splendid form histrionically as^ well as vocally; Raymonde Delaunois put the proper spirit into her portrayal of Preziosilla; Jose Mardones was the reverent Abbot, and Thomas Chalmers provoked the usual laughter as Father Melitone. Louis D’Angelo adequately filled the role of the Marquis of Cala-trava, and others in the cast were Grace Anthony, Paolo Ananian, Giordano Paltrinieri and Vincenzo Reschiglian. Papi conducted. It was truly a brilliant ending to a brilliant season.
Final Sunday Night Concert.
The last Sunday night concert and, incidentally, the end of the 1921-1922 season at the Metropolitan Opera House, attracted a much smaller audience than usual, and there was a great deal less enthusiasm. Of course the Saturday night opera performance really ended things, and this concert seemed to be a sort of “aftermath.” However, the program was interesting and many of those who took part deserved even greater plaudits than were accorded them.
“Cos! Fan Tutte,” April 17.
Mozart’s delightful comedy, “Cosi Fan Tutte,” was given its last performance of the season Monday evening, April 17. The remarkably fine cast was the same as at previous performances, with Florence Easton as Fiordiligi; Frances Peralta, Dorabella; Lucrezia Bori, Despina; George Meader, Ferrando; Giuseppe De Luca, Guglielmo; Adamo Didur, Don Alfonso. Artur Bodanzky conducted with his accustomed skill. The audience was delighted and vented its approval unmistakably.
“Die Walkure,” April 19.
On Wednesday evening, April 19, “Die Walkure” had its sixth and final production of the season before a large audience. Florence Easton was admirable as Sieglinde, giving much pleasure and satisfaction to her hearers. She is indeed a versatile artist. The Brunnhilde was in the hands of another capable singer, Julia Clausson, who also made a deep impression upon the audience, not alone vocally but also in her acting and general appearance. Grace Bradley, one of the younger singers of the organization, was given the part of Fricka and did extremely well. Other minor roles were entrusted to members of the company who always give of their best: Sundelius, Tiffany, Alice Miriam and Grace Anthony. Henrietta Wakefield, as Waltraute, also gave a good account of herself. Morgan Kingston was a rich voiced Siegmund and William Gustafson lent his sonorous organ to the part of Hunding. Clarence Whitehill’s Wotan is a familiar figure to Metropolitan Opera goers and this sterling artist again scored an emphatic success. All in all the performance was a good one and was much enjoyed.
“Andrea Chenier,” April 20.
“Andrea Chenier,” on Thursday evening, April 20, marked what is reported to be the last appearance of Claudia Muzio at the Metropolitan Opera. Miss Muzio, inspired by the occasion, was at the very height of her powers. In good voice she gave without stint of her vocal resources singing the highly colored music with splendid dramatic intensity and acting with great emotional force. There was an audience that literally jammed the house to the doors, come to say farewell to Miss Muzio. After the third act and at the end of the opera there were demonstrations which recalled those of which Miss Farrar has been the object the last few weeks. After the third act she was called back time after time and showered with bouquets from the balconies while there was a storm of cries of “Brava, Muzio,” and this same scene was repeated with even more recalls and more flowers at the end of the opera.
Gigli and Danise, who had the other two principal roles, seemed inspired by the emotion of the evening and fairly outdid themselves in their work with her, while the electricity seemed to have gotten into Moranzoni’s baton as well. All in all it was one of the best performances of the season, and Miss Muzio well deserved the tumultuous demonstration that was hers.
“Tristan and Isolde,” April 21.
The final performance of “Tristan and Isolde” was given on Friday evening, April 21. It was also the final produc-
She is a pianist of distinction—New York Tribune
OLGA
S T E E B
Pianist
Detroit Symphony Orchestra, Ossip Gabrilowitsch Conducting
CONCERTO THING OF BEAUTY IN OLGA STEEB’S HANDS
Without apparent effort this young woman with the able assistance of Mr. Gabrilowitsch and the orchestra made of Liszt’s great concerto in E flat minor a thing of rare beauty.
She was applauded many times at the dose—Detroit Free Press•, April 3, 1922.
Freedom from gymnastics and an admirable׳ pedal control when needed—absence of sensational side-play while still retaining complete and admirable dominance over the spirit of her theme in all its changes and varied demands—such fingering as only the most supple digits can make possible, and all the incidental features of this sort subordinated to the expression of the great soul of the piece as the composer conceived it; these details united in bringing favor to Olga Steeb at the concert of the Detroit Symphony Orchestra.
The rare beauty of her interpretation won warm welcome from the big audience in Orchestra Hall. It is probable that few of the preceding Sunday concerts, if any, have had more genuine enjoyment for the audience.—Detroit Journal, April 3, 1922.
Exclusive Direction of
Catharine A. Bamman, 53 West 39th Street.
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