MUSICAL COURIER
40
May 4, 1922
Chicago Symphony Orchestra, who directed the orchestral work besides giving with his men splendid accompaniment in Muratore’s operatic excerpts.
The Marshall Field Choral Society is an homogeneously fine body of singers whose accomplishments are only the result of diligence on the part of their conductor and intelligence on the part of the members. Yearly they progress, and their concerts add materially to the musical life of this city. Their singing won rousing plaudits which echoed all through the hall whenever an opportunity presented itself, and those marks of approbation on the part of the audience were richly deserved, as they sang with great precision, beauty of tone and with a technic that would put to shame many so-called “professional” choral societies. A great deal of the success of the evening was contributed by the Marshall Field Chorus and by the excellent leader and director, Mr. Pape.
The first half of the program was given to Lucien Mura-toi־e and the Chicago Symphony Orchestra, under the leadership of Eric DeLamarter, who is an orchestral conductor of the first order. It is always a pleasurable duty to praise the merits of a man of the calibre of Mr. De Lamarter, whose modesty is on a par with his talent. Mr. DeLamarter and sixty members of the Chicago Symphony presented their numbers admirably and so delighted were the hearers that they compelled the young and efficient leader to bow many times in acknowledgement to unusual demonstrations of approbation. Lucien Muratore was billed for six songs, but before the audience would let him go, he had to add nearly twice as many encores as printed numbers. Although at first he seemed somewhat fatigued and did not sing the tenor aria from “Werther” with the same telling effect as of yore, in his second group, made up of French and Italian songs, his voice came forth in all its glory and he completely electrified his hearers who were only contented when three additional encores had been sung. For his last group, the great tenor offered the “Lament” from Leoncavallo’s “Pagliacci,” singing the excerpt better !than, Muratore has ever sung it here, and this explained the volcanic expressions of his hearers, as truly Muratore surpassed this time any of his previous efforts. Such singing as he gave “The Lament” will linger forever in the minds of all those fortunate enough to be present on this occasion, as only once in a lifetime does a singer find himself as Muratore did in this aria, which, though he had sung it innumerable times, never found in him as thrilling an interpreter as on this memorable night. Muratore sang it as though inspired; the accent of pathos that makes the heart grip and the pulse quicken and brings tears to sensitive persons was there; chills ran down one’s back all through the aria, which was delivered with so many exquisite accents that each tone seemed more beautiful than the previous one. Muratore gave all that was in him. He threw to the winds the advice of his doctor and forgot that he is yet a sick man and sang as though he were just beginning his season instead of closing it after a most strenuous tour made under very unfavorable conditions and after a recent severe major operation. At the conclusion of the number the audience for a few seconds gasped, then recovered itself and feted the tenor as only idols of the public are received, and the demonstration greatly moved the artist who seemed on the verge of a collapse as he retired to the dressing room. The after-math of^ the concert was, as predicted by his friends, a cancellation of his Sunday concert at the same Auditorium, where he was billed to appear under the auspices of the Alliance Française.
After the intermission Mendelssohn’s “Hymn of Praise” was given under the direction of Mr. Pape and his choral society, assisted by three excellent singers. Paul Alt-house, who has triumphed many times in Chicago, added to his laurels by the magnificent manner in which he sang his music. Here is an artist who enjoys his work, and that enjoyment is reflected in his singing and in the delight of the public who manifested their enjoyment vociferously. To sing again the praise of Althouse and to analyze Ws singing at this time would seem puerile. Suffice it to state that he was at his very best and this in itself is proof that he was a potent factor in making the performance of the “Hymn of Praise” well worth listening to. Luella Meluis had not a very large rôle, though the most prominent in the oratorio except thé tenor, and she sang with that purity and clarity of tone that was noticeable in her two recitals here this season. She was well liked by the audience and it is already rumored that so pleased were the choristers with her work that a return engagement for next season will not be surprising. Mabel Sharp Herdien had even a smaller part, but she is the oratorio singer par excellence and made much of a part that generally would pass unnoticed She was in glorious voice and with Mme. Meluis con-
UMBERTO BEDUSCHI
f0rmCr'y leadinB ‘Xe^Tal ?fete! R°yal Ar*e״tina•
Voice placing and development, Coaching for Grand Ooera etc Suite 70, Auditorium Bldg., Chicago ’
$ WOODMAN TUFTS
E	CONTRALTO
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KNUPFER-
Eight assistant teachers, nineteen associate teachers Fine »'*« Bldg., Chicago
CHICAGO ENJOYS LISTENING TO A
VARIETY OF LATE-SEASON CONCERTS
Pavley and Oukrainsky Ballet School Gives Fine Performance—Musicians’ Club of Women Elects Officers—Marshall Field & Co. Choral Society Pleases—Various Recitals, Concerts and Conservatory and Studio Happenings
corps de ballet that have brought admiration from two continents. Beautifully costumed, the young ladies appeared under best advantages, as the scenery and lighting effects were on par. Thus, the thunderous applause of the audience after each number disclosed keen judgment and those high marks of approbation were a just tribute to Pavley and Oukrainsky and their admirable associates, all of whom deserve a vote of praise and are to be thanked for a most enjoyable and profitable evening.
Hanna Butler Sings At Beackstone.
Hanna Butler, the popular soprano, sang before the Loyola University alumnae at the Blackstone Theater, April 23. Mrs. Butler was heard in two songs from the pen of Mrs. Beach, “Ah, Love but a Day” and “The Year’s at the Spring,” “Chanson L’lndoue,” by Rimsky-Korsa-koff, and “Depuis le Jour” from Charpentier’s “Louise.” The concert began at three o’clock instead of three-thirty and this probably explains the delay of the singer, who reached the theater just after this reporter was leaving to marathon to another concert. From reports from various sources it may be attested that she was at her best and was very much enjoyed by the large audience. Associated with Mme. Butler on the program was Dorothy Eichenlaub, a professional student of Walter Knupfer, who replaced at the last moment another student from the same class, Magdalen Massmann, billed as piano soloist. Miss Eichenlaub played the Paganini-Liszt etude, “In Old Vienne” by Godowsky, and Chopin’s mazurka, in all, reflecting great credit on her able mentor. George Hrusa met also with favor in a violin group.
Musicians’ Club of Women Elects Officers.
Following are the officers elected for the Musicians’ Club of Women for 1922-23: president, Mary Peck Thomson; first vice-president, Mrs. Louis Edwin Burr; second vice-president, Mrs. Hyde W. Perce, and the following twelve for the board of directors: Mrs. Helen Protheroe Axtell, Gertrude Gane, Florence Hodge, Mrs. Charles L. Krum, Agnes Lapham, Veronica Murphy, Marion Taylor Raymond, Louise Harrison Slade, Mrs. William J. Sten-son, Lucille Stevenson, Mrs. George De Tarnowsky and Louise Hattstaedt Winter.
Using Clayton F. Summy Songs.
Marguerite Fontrese, mezzo soprano of New York, writes enthusiastically of her continued use of “Joy,” by Beatrice Macgowan Scott. She used it with great success at a recital in the Pennsylvania Hotel, New York, on February 17, and at the National Opera Club concert at the Waldorf-Astoria, on March 17. This is one of Clayton F. Summy’s most successful publications.
Marshall Field and Company Choral Society Concert.
The Marshall Field & Company Choral Society no longer can be classified as an amateur organization, as today, thanks to the careful training of Thomas A. Pape, the conductor of the choir, it occupies a predominant place among the famous choral organizations of the land. This tribute 'seems justified after listening attentively to the effrts of the employees of this world renowned mercantile establishment when they appeared at their sixteenth annual concert in the Auditorium, Tuesday evening, April 25. The vast hall was packed solidly, the majority of the audience being made up of fellow-workers at Field’s, who had come not only to judge the merits of the choir, but also to enjoy the singing of Lucien Muratore, Luella Meluis, Mabel Sharp Herdien and Paul Althouse, without forgetting Eric De Lamarter, assistant conductor of the
־NICOLAY
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A
n Reengaged for eleventh season as leading Basso with Chicago Opera Association Address: CHICAGO GRAND OPERA .	. CHICAGO
Chicago, 111., April 29.—The Pavley and Oukrainsky Ballet School gave an unusually fine performance, presenting several ballets and showing in each to great advantage the work of their students, while Pavley’s solo work and Oukrainsky’s great terpsichorean artistry completely electrified the audience that practically packed the Auditorium from pit to dome last Saturday evening. The question of ballet being popular in Chicago can best be answered by publishing here the official box office receipts of the evening, which amounted to $6,070.98. Few singers, members of the Chicago Opera Association, can boast greater box office value than the Messrs. Pavley and Oukrainsky, as their drawing power was attested not only on this occasion, but also on several others, which prompted the late Cleo-fonte Campanini to state repeatedly that if all •the stars of the Chicago Opera company had as magnetic an effect on the box office, the Chicago Opera would never have a deficit.
If a complete review of the performance that was given on Saturday night v/ere here published, no space could be given to other musical events of the week, and if the name of each participant was mentioned, many lines would be used, as more than one hundred were seen at a time on the stage, ranging from mere children to young ladies and young men, who, without one exception, reflected credit on their mentors and many of them glory on themselves. Much can be said regarding the especially good work of the premiere danseuse as well as that of her colleagues. They have been well trained and do much more than dance well: they express their ideas as though they were speaking lines and their facial expressions always have meanings of their own. Such ballerines are uncommon, as generally the limbs seem to be the only part of the anatomy that a ballet master develops. Not so with Pavley and Oukrainsky! They demand much more from their students arid professional pupils. They want intelligence, and this was manifested all through the evening, as the young ladies as well as the young men exhibited various talent in their different allotments. Charm and grace, agility, plasticity have been taught to perfection at the Pavley-Oukrainsky School and the results obtained proved conclusively that in Chicago and possibly in the country there is only one school of dancing that can rival with those established for many, many years in Milan, Paris and Petrograd, as already from the Chicago school have emerged premiere danseuses and members of
FRANCESCO IYAr|F||
Of Chicago Opera Association B Jr	1 J "	^ JL
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