MUSICAL COURIER
8
May 11, 1922
describe completely the reception he, too, received after his first big number—•“Una furtiva Lagrima” from “Elisir d’Amore.” Those teetotalers—persons who abstain from indulging in applause until they have tasted—soon forgot their “show me” slogan, and joined in with those who had heard the tenor before and knew. Schipa, too, triumphed —and it was not half-hearted applause but spontaneous and sincere. He, likewise, had to sing again, and more noisy handclapping followed his encores. Later he contributed Massenet’s “Strofe d’Ossian,” from “Werther” and then at least three more encores had to be added. The tenor’s pure, bell-like tones hit their mark and sank deep. Beautiful singing it was indeed, especially the encore—the “Rigoletto” aria—which everyone recognized and particularly liked.
Pages could be written about this concert were there space, but at least another mention must be made of the chorus—a reference to Barnby’s “Sweet and Low.” It was a capella singing personified. This alone was worth going for, and the audience so liked it that part of it had to be repeated. Later the chorus offered the Scene and Prayer from “Cavalleria Rusticana,” with another chorus—probably school children—back stage. Here something went wrong and half of the number was given with the two choruses on one key and orchestra on another. Conductor Wiske managed to adjust matters later. The final choral selection was the cantata, “Lord Ullin’s Daughter,” by McCunn, a most uninteresting work. The orchestra added Schubert’s “Unfinished” symphony.
Saturday Night.
The second program opened with the overture to “Iphi-genia in Aulis,” by Gluck. Then followed Elgar’s “Brothers Alert,” for chorus and orchestra, beautifully given.
Frank Cuthbert, bass soloist, contributed Cadman’s “I Martius Am” and Mendelssohn’s “I’m a Roamer.” Both of these he sang splendidly, winning much applause. For encores he added “Why Do the Nations So Furiously Rage,” from “The Messiah” and O’Hara’s “Give a Man a Horse He Can Ride.” Phoebe Crosby, soprano, then offered “Pleurez mes yeux,” by Massenet; Miss Crosby is well known in New Jersey, having appeared in The Oranges only recently with success. The chorus then contributed “Where the Wild Thyme Blows,” by Barret.
Deserving of particular mention was the quartet—Elgar’s “As Torrents in Summer”—beautifully presented and unaccompanied; it had to be repeated. Charles Stratton, the tenor, sang “Cielo e Mar” (Ponchielli), so well he had to add a negro spiritual, unaccompanied, and “Drink to Me Only With Thine Eyes.”
Mildred Bryars, a contralto of pure voice and personality, contributed “O don Fatale” (Verdi). Hers is a wide range and she proved very popular. She added two encores, accompanying herself at the piano.
All in all it was an interesting program, decidedly different from the opening one, but nevertheless much enjoyed by the large audience present.
[The remaining concerts will be reviewed in next week’s issue.—The Editor.]
The Joke’s on Somebody
Frederic Shipman, managing director International Tours, Ltd., who spent a part of the winter in America engaging artists for Australia, Honolulu and New Zealand, reports an amusing experience. Among the artists engaged for the Australian tour is Rosa Raisa, of the Chicago Opera, and Mr. Shipman, energetic and wideawake manager, who naturally “grabs” every bit of advertising material he can get hold of to give his artists a good sendoff, thought it would be a fine bit, of publicity to display a pastel portrait of Raisa which he saw (or thought he saw) in the lobby of the St. Francis Hotel, San Francisco. “Can I have the picture?” he asked of Giacomo Rimini, Raisa’s husband? “Si, si, si, si 1” said Rimini. “Take eet. Take heem. Take di whol’ t’ing.”
So Shipman took it—took “di whol’ t’ing”—and went joyfully on his way, until he arrived in Honolulu where he received a telegram, cable or wireless that read: “Portrait of Edith Mason you took from hotel is private property not belonging to her. Value $1,500. Please return. Wire immediately. Hotel St. Francis.”
Question: Does the portrait look like Mason? And does Mason look like Raisa? And if the portrait that was painted to represent Mason looks so much like Raisa that it might have been made for her why not keep it for advertising Raisa? And is it good advertising for Mason? The joke is on somebody, but who is it on? Mason or Raisa or Shipman or Rimini ? Certainly not on Shipman, for he has gotten more advertising out of it than if he had taken the real picture of Raisa. (Is his tongue in his cheek?)
Unique Audience Hears Cellist Dubinsky
Vladimir Dubinsky, cellist, whose participation as soloist in concerts, recitals, church services, etc., is always ^ feature of the affair, gave a recital at the Educational Alliance, April 30, playing Boellman’s symphonic varia-tions, Davidoff’s “At the Fountain,” Popper’s rhapsody and
Dance of the Elves” as his principal numbers, with others by Cui and Rimsky-Korsakoff. The program “went over big,” as the current phrase has it. The audience, largely folk with only the beginnings of American education but nevertheless ardent music lovers, is attentive, appreciative, enthusiastic, constituting an ideal assemblage. Such an audience would be desirable in the environment of Town Hall, Aeolian Hall, etc., for these listeners almost “inhale the atmosphere of music, and, following every number, clamor for more.
Schumann Heink Still Busy
Ernestine Schumann Heink sang recently in Des Moines la., and McAllister, Durant and Ardmore, Oklahoma, following these dates with appearances in Oklahoma City, Shawnee and Henryetta, Oklahoma and Springfield, Mo.
Gescheidt Artist Pupils’ Recital May 16
Some of the representative artist-pupils of Adelaide Gescheidt will be heard at her invitation recital, Tuesday evening, May 16, in the Rose Room, Hotel Plaza.
NEWARK’S EIGHTH ANNUAL MUSIC FESTIVAL
ATTRACTS MUSIC LOVERS FROM FAR AND NEAR
First Regiment Armory Once More Presents Inspiring Picture at Opening Concerts—Exceptional Work of Chorus, Under Conductor Wiske’s Baton, Arouses Great Enthusiasm—Tito Schipa and Suzanne Keener, First Night Soloists, Win Ovation—Second Concert Presents Phoebe Crosby, Mildred Bryars, Charles Stratton and Frank Cuthbert in Another Delightful Program
who seem to know no bounds in their enthusiasm. While there were some disappointing features in this year’s series, due more or less to unavoidable circumstances, there were, nevertheless, attractive features which more than offset them. Space forbids a lavish report of all that proved interesting, but too much praise cannot be given the fine chorus, without which there could be no festival at all. Many of these singers have been with the organization since its first rehearsal in the Sunday School rooms of the old South Park Presbyterian Church, back in 1914. Their deep-rooted love for music, as well as their civic pride, has held them to their task—an enjoyable task— that more than repaid them in the enjoyment they received. A whole evening given up each week to rehearsal is not always convenient. Still, by constant work and earnest study these singers have developed into a choral body of no meagre rating, and one fully capable of a place among the best of amateur organizations. And it has been, moreover, the untiring hand of Conductor Wiske that has accomplished such results, and to him must be given the credit for the excellence of this choral body.
Friday Night.
The festival opened on Friday night, May 6. Beniamino Gigli, the Metropolitan tenor, had been engaged to appear, but illness prevented him from being present. Luckily, however, Tito Schipa, the Chicago Opera tenor, was secured, yet until he sang his first number there were not a few who showed their disappointment. Then when the popular Chicago star began—but we are getting ahead of our story.
Conductor Wiske opened the program with the ever-popular overture from “Tannhäuser,” played very well indeed by an orchestra of selected men from the Metropolitan Opera House orchestra. There was loud applause. Then followed the first choral number—“Hail to the Chief,” by Prout—which gave the audience some inkling of the pleasure to follow later; this, too, was warmly received.
The first soloist was a newcomer—Suzanne Keener, a little soprano with a big, beautiful coloratura voice. The old adage—“good things come in little packages”—might truly, be applied here, for when the young artist, pretty and vivacious, appeared on the stage, her very personality won her audience at once. Immediately there was applause; then came a very audible “Who is she?” from this person and that. And then she sang—sang the well known “Ah fors e Lui” aria from Verdi’s opera, “Travi-ata,” which at first seemed a rather big undertaking for so little a person. But wait! Perhaps a wee bit nervous at first, she soon found herself, and then—well—she finished, and the huge armory fairly shook with the thunderous applause. Possessed with a big voice, beautiful in quality, she surmounted all the difficulties of this difficult number and astonished all with her high notes and coloratura passages. Encores were, of course, necessary, and so far the audience seemed thoroughly delighted. But later—when she appeared again, after the intermission, and offered the Mad Scene from Donizetti’s “Lucia”—the auditors broke loose in almost frenzied applause. Again and again she came back and bowed, and encores were added—but not until Conductor Wiske appeared, holding his watch in his hand, would the audience allow the concert to continue. It was indeed a triumph for Miss Keener and she truly deserved it all.
Going back again to Schipa, one might just as well start and collect all the synonyms of praise in the dictionary to
Newark, N. J., April 30.—For eight consecutive years Newark has held its annual music festival in the huge First Regiment Armory, always to huge audiences enthusiastic to the nth degree. And for eight consecutive years C. Mortimer Wiske has conducted, on each occasion winning the whole-hearted applause of those attending and the unstinted praise of the local press. Each season, too, has brought to the city new stars of distinction and varied programs of great entertaining as well as educational value.
In many respects this year’s festival was not unlike those of other years, especially as regards the audiences, the general turning-out of music lovers from many sections
On tour with
GERALDINE FARRAR’S
Concert Company, Spring 1922
Mr. Gunster is under the management of
HAENSEL & JONES	Aeolian Hall, New York
Summer School
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Vocal Instruction
THE A. Y. CORNELL
© Underwood & Underwood
(Sixteenth Consecutive Season)
ROUND LAKE, N. Y.
(Near Saratoga Springs)
SIX WEEKS SESSION
JULY 3rd TO AUGUST 12th
A logically systematized course lor Teachers and Singers. Class sessions in technic of Voice, Song Analysis and Interpretation.
CHARLES GILBERT SPROSS,
well-known Composer-Pianist, has been specially engaged as Coach
Prospectus containing terms and full particulars on request
A. Y. CORNELL - Carnegie Hall, N. Y.