27
MUSICAL COURIER
LEONE KRUSE, dramatic soprano.
a pupil of William S. Brady, will be presented in concerts by M. H. Hanson next season. Miss Kruse will be another product of the Brady studios to enter the concert field. Other pupils from the same studio now prominently before the public include Carolina Lazzari, Kathryn Meisle, John Steel and Marcella Craft.
Mr. Brady will spend the period of June 26 to July 22 at the American Conservatory of Music in Chicago, where he will conduct a master class in singing.
“A pianist for the discriminating.״—Boston Transcript.
HARRISON
POTTER
Management: AARON RICHMOND, 404 Pierce Bldg., Copley Square, Boston, Mass.
Vitis as a messenger, Barbara as the old nurse and Zenia Ershova as the Angel.
“Snegotjroutchka”
Another work that has been heard frequently this winter was Rimsky-Korsakoff’s “Snegouroutchka” which held the boards on Saturday evening, May 13. The title role was well sung by Olga Kasanskaya, and that of Lei by Valentina Valentinova. Especially good was the work of Bobylicka (Barbara Loseiva) and Bobyl (Nicholas Kosloff) ; they looked the part and played it with true peasant crudity. Sophie Osipova, as Koupava, was heard to good advantage. Vladimir Radeeff was a handsome Mizguir, singing and acting the role in commendable fashion. Vladimir Daniloff likewise deserves special praise for his work as the Czar. Others in the cast were David Tulchinoff as Bermiata, Efim Vitis and Gregory Ardatoff as the heralds. Eugene Ferust conducted with skill, keeping his forces well in hand at all times.
Samuel Selwitz Opens Managerial Offices in Chicago
Samuel Selwitz, a Russian by birth, but American by adoption, has opened offices in Chicago, at 1512 S; Trumbull Avenue, as a manager of musical artists. Having always been interested in musical activities, Mr. Selwitz has always had an ambition to bring to the public inspired and excellent artists—especially great artists who are little
SAMUEL SELWITZ, manager of musical artists.
known in the United States, although well known in Europe. Some of the artists Mr. Selwitz is interested in are Bogumil Sykora, a prominent Russian cellist, who took Europe by storm with his personality and artistic equipment, and who has given many concerts and recitals in New York, Chicago and many other big cities in the United States; Paul Vinogradoff, Russian pianist, laureate of the Moscow Imperial Conservatory, who is on his way to America from Europe with some of the highest honors ever accorded a pianist, and Arthur Hess, said to be the world’s highest tenor, well known in Europe and the Eastern States of the United States, and who has achieved a great success in concert and recital, being credited by Senior Moskagnis and the late Caruso as the highest tenor in the world. Other artists under Mr. Selwitz’ management will be announced later.
R. E. Johnston’s Attractions
R. E. Johnston, who has as associates Lulu G. Breid and Paul Longone, announces the following list of artists for the coming season: Tetrazzini, Tita Ruffo, Rosa Raisa, Giacomo Rimini, Gigli, De Luca, John Charles Thomas, Joseph Hislop, Anna Fitziu, Cyrena_Van Gordon, Evelyn Scotney, Erwin Nyiregyhazi, Raoul Vidas, Edward Lankow, Tina F'ilipponi, Robert Ringling, Rudolph Bochco, Clara Deeks Paul Ryman, Suzanne Keener, Marie Saville, Caroline Pulliam, Lucile Orrell. He will also again direct the Biltmore Friday Morning Musicales.
Another Brady Pupil to Enter Concert Field
Leone Kruse, dramatic soprano, formerly a pupil of Karleton Hackett, of Chicago, and for the last three years
Rensselaer Summer Master School of Musical Art
AVERILL PARK, N. Y.
(Among the Berkshire Hills)
RECITALS—MUSICALES
Recreation sports.
LINA COEN
French Coach, Opera
Repertoire, Program making
JESSIE FENNER HILL
Art of Singing
james McLaughlin, jr.
Organ, Oratorio, Theory
Term of six weeks, beginning July 1st
Registration is urged for the earliest possible date, as dormitory accommodations
are limited.
Courses are of especial interest to teachers, artists and advanced students.
For Information
D. BRANDT, Sec’y to MRS. HILL Metropolitan Opera House Studios, New York
May 18, 1922
RUSSIAN OPERAS DELIGHT
AUDIENCES AT NEW AMSTERDAM
Great Enthusiasm Marks Performances of Russian Opera Company—Varied Program Pleases—Performances Well Given
“The Tzar’s Bride.”
A great improvement was noticeable in the second performance of the Russian Grand Opera Company, May 9, of “The Tzar’s Bride” (Rimsky-Korsakoff). Principals as well as the chorus appeared more at home than on the opening night and the audience which nearly filled the New Amsterdam Theater showed greater enthusiasm. This opera, in four acts, holds much of interest, and, while there was much to criticise, as a whole it was well done and deserving of praise. The role of Marpha was well handled by Olga Kasanskaya, but the vocal honors went to Zenia Ershova as Lubasha. Others in the cast were N. Karlash as Sobakin, Sophie Fiher as Domna, Claudie Ivanova as Dunosha, N. B'usanovsky as Lixoff, J. Lukin as Griasnoy and Barbara Losieva as Petrova. Feveisky conducted.
“Pique Dame.”
Tschaikowsky’s “Pique Dame,” the Queen of Spades, was the opera given by the Russians on May 10 and it enjoyed, if that is the word, a performance about equal to, let it be hoped no worse than the other operas heretofore given by this company. Perhaps the general tone of the vocal part of the rendering was raised a bit by the fact that Nina Koshetz was cast in the leading role, that of Lisa, granddaughter of the nimble-fingered countess, who appears to have been a winner in the three-card monte game. She certainly had Conan Doyle backed off the map as a materialization artist, and her well nourished ghost put the finishing touches on the careers of Lisa, Hermann and who knows who else. How Tschaikowsky ever persuaded himself that this was a fit libretto for his genius to expend itself upon will ever be a mystery. Evidently he had in mind something like what Strauss is attempting today—a return to old standards, a use, in parts, of a reduced orchestra, the orchestra of Mozart, and the like. He even introduces a melody from the olden time borrowed from Grety’s “Richard Coeur de Lion,” printed in the score and sung in French (the balance of the opera in Russian.) This libretto was written by Tschaikowsky’s brother for another composer who refused it, and no doubt the kind hearted Peter took it on his shoulders to oblige and started off with a well-founded resolve to be untrue to himself. This lasted through the first two acts with their stupid tunes and stupider dances —then the drama of the thing, the human suffering, got hold of him and he abandoned his imitation of the ancient style and wrote some of the sort of passionate and pathetic music of which he was so eminently capable.
The interpretation by the Russians increased the tawdriness of the ball scenes. It was better in the dramatic parts, especially in the several scenes of passion and despair done by Vladimir Daniloff (Hermann), who is a good actor. The “hit” of the evening was a small Cupid, about six years old, who appeared with bow and arrow in one of the ballet
“Boris Goudonoff.”
scenes.
“Boris Goudonoff” was the opera chosen for Thursday evening, and on the whole it was given with plenty of color as it was sung in Russian by Russian artists. The performance deviated somewhat from that offered at the Metropolitan, for the scene in Marina’s room always omitted in the production at that house was included on this occasion. The snow scene, however, was not given.
David Tulchinoff and Nicholas Kosloff were the monks Varlaam and Michael, and sang and acted with considerable vigor. Valentina Valentinova was the inn keeper. Nicholas Karlash made a dramatic Boris and did some fine acting in the death scene. Vladimir Svetloff put the proper spirit into his interpretation of the pretender. Zenia Ershova, of the “Chauve Souris” company, gave a good account of herself as Marina Mneshek, her voice being dear and^ her acting graceful. Max Panteleeff used his voice effectively as Pemeon; Mrs. Popova played her character part well, that of the old servant, and Vladimir Daniloff was in fine voice as Gregory Otrepieff. Other roles were in the hands of Olga Michalovskaya, Zenia; Claudia Ivanova, Feodor, and Leonid Gorlenko, priest. The opera was conducted by Michael Feveisky.
“Eugene Onegin.”
Tschaikowsky’s “Eugene Onegin” was presented on May 12. The largest audience of the week heard the performance, which was an improvement over those given of other operas during the week. Miss Mashir was the Tatiana and gave a creditable conception of the part. Others in the cast were Mme. Popova as the Nurse, Miss Valentinova as Olga, Miss Losieva as Mme. Lerin and Messrs, Tulchinoff as General Gremin, Kosloff as Triquet, and Ardatoff as Zaretzky. Conductor Fuerst led his men through the score, giving an interesting reading of the lyrical charm of the work.
“The Demon.
Rubinstein’s opera, “The Demon,” was performed for the first time in New York by the Russian company on Saturday afternoon, May 13. Nina Koshetz, who was the outstanding-artist, scored a triumph in the role of Tamara, in which she infused much warmth and intensity. The audience was not slow in recognizing her vocal and dramatic powers, and applauded her throughout the entire performance as an artist of her calibre deserves. Jacob Lukin, as the Demon, likewise made an excellent impression.
There are many beautiful gems in the score, notably the scene of Tamara and the maidens at the spring, the tenor aria of Prince Sinodal, the soldiers’ chorus, and the ballet music.
Although the opera was crudely staged, it created an unusually fine impression. Repetitions of this work will undoubtedly be welcome'to New York music lovers. Michael Feveisky conducted.
Aside from the big success achieved by Mme. Koshetz and Mr. Lukin in the leading roles, the cast comprised Nicholas Karlash as Prince Gudal, Vladimir Svetloff as Prince Sinodal, Gregory Ardatoff as the old servant, Efim