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May 25, 1922'
MUSICAL COURIER
tura soprano, gave her third recital in Flushing within two months; Harold Marsh, basso, made a splendid impression in concert at Great Neck, and Lillian Baker, dramatic soprano, appeared the evening of May 5 in Passaic, making an especially fine impression in the aria “Adieu Forets,” from “Jeanne d’Arc.”
Music Students’ League Benefit Concert
One of the finest concerts of the season was given on May 9 for the benefit of the endowment fund for the Music Students’ League. The artists ■vho had so willingly and kindly consented to contribute their artistic services to the evening’s entertainment were Estelle Liebling, soprano ; Arthur Hackett, tenor; Germaine Schnitzer, pianist; Cornelius Van Vliet, cellist, and Walter Golde, accompanist.
“Maria auf dem Berge,” by Kienzl, sung by Estelle Liebling was exquisite in its appealing tenderness and Ravel’s "La Flute Enchantée,” and “A Pastorale,” by Carey, were rendered with fine artistic understanding. Her diction, equally clear in French, German and English, was a joy to the hearers.
Cornelius Van Vliet endeared himself instantly to the audience. He revealed brilliant technic in the “Carnaval,” by Kaempf, and Jeral’s “Tarantella,” and he played expressively and with deep feeling MacDowell’s “To a Water Lily,” and “Elegie” by Schravazande, never losing the beautiful quality of his tone, which is always smooth and rich. Arthur Hackett’s part of the program was a rare treat in every sense of the word. His voice was remarkably rich and satisfying and his rendition of “Far Off I Hear a! Lover’s Flute” by Cadman, “D’Une Prison” by Hahn,. “Spring Night” by Josten, and the charming little song, “Nichevo” (Nothing Matters), by Mana Zucca, proved his uncommon ability to interpret with rare intelligence and art songs of varied characteristics and emotions. Germaine Schnitzer did her group of piano selections with fire and warmth. The Chopin B minor scherzo and Liszt tarantelle were given with amazingly facile technic. A wealth of tone color and deep musical expression marked Schubert’s “Moment Musicale.”
The program was concluded with a duet from “Carmen,” dramatically sung by Estelle Liebling and Arthur Hackett, their voices blending beautifully in the touching letter scene. Each and every artist was an inspiration to the young members of the Music Students’ League (who attended the concert in full force), and all the participants graciously consented to encores after every group. J. Fletcher Shera, president of the Music Students’ League gave a short talk, and explained in a most interesting way the purposes and ambitions of the League.
“Aida” at Brooklyn Academy • of Music
Monday evening, May IS, a special performance of “Aida” was given in Italian at the Brooklyn Academy of Music, with interest centering around the appearance of Dmitry Dobkin as Radames. This young Russian tenor has had wide experience in opera, having sung with success at the Petrograd Opera House, and was well received on this occasion for his excellent portrayal of the role. His full, rich tones and his thorough knowledge of style made his singing a delight.
There also was much interest manifested in the debut of Mabel Rich as Amneris, as this was her first appearance in opera. Miss Rich is the possessor of a powerful contralto voice, rich in quality, and of very wide range. She made a regal princess, and her debut was entirely successful. Edith De Lys, formerly of the Covent Garden Opera, London, sang the title role with skill. Henry Weldon’s fine bass voice was heard to advantage as Ramfis. Giuseppe Inter-rante and Charles Villarias were adequate as Amonasro and the King, respectively. Others in the cast were Amadeo Baldi and Marie Scheidt. The incidental dances were furnished by Gloria Berkley and the corps de ballet of the Metropolitan Opera House. Salvatore Avitable conducted.
Park Community Orchestra Closes Season
The Park Community Symphony Orchestra, Jacques L. Gottlieb conductor, brought its concert season to a close on May 19 at “The Chateau,” on East Eighty-sixth street. This organization, which was founded and exclusively trained by Mr. Gottlieb, has done much to arouse interest in musical affairs in its community. From the very outset Mr. Gottlieb worked incessantly. His efforts were crowned with success, a fact demonstrated by the excellent work of this organization, which has given several public concerts each season for several years past.
The orchestral numbers chosen by Mr. Gottlieb for the closing concert comprised the “Raymonde” Overture, Thomas; “Allegro con grazia,” from “Symphonie Pathe-tique,” Tschaikowsky; “Egyptian Ballet,” Luigini; “Morning” and “Asa’s Death,” from “Peer Gynt,” Grieg, and “Vienna Life” waltz, by Strauss. Anne Wolcott, soprano, was the assisting artist, singing “Vissi d’Arte,” from “La Tosca,” Puccini; “Dawn,” Curran; “The Robin,” Spross, and “At the Jasmine Door,” Scott. Following the concert the members of the orchestra and audience remained to enjoy the rest of the evening in dancing.
Harriet Foster Pupil Sings for Radio Again
Beleska Malinoff, dramatic soprano, a pupil of Harriet Foster, who sang for a radio concert at Fort Wood, Bed-loe’s Island, Station WUP, several weeks ago, was so well liked that she was asked to sing there again, on May 4. Among her numbers were the air of Salome from Massenet’s “Herodiade,” “The Soldier’s Pride” by Rimsky-Korsakoff, and “Love’s on the High Road” by Huntington Woodman, her high tones in these, especially the B flats, being particularly brilliant.
Richmond Looks Forward Again to Sundelius
On April 24 Marie Sundelius appeared in recital for the Musicians’ Club of Richmond, Va., and scored such a substantial success that, in the words of the Evenings Dispatch, “her singing makes us look forward to a second appearance.” This sentiment, in almost exactly the same words, is echoed by the Times-Dispatch and News-Leader. Numerous dates for the Metropolitan Opera soprano have already been booked for next season, and her concert appearances promise to be the most numerous of her career.
EMPORIA FESTIVAL
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power. The excellent intellectual reading of the well chosen program proved that the artists serve their divine art with consecrated effort. They are well worthy of being classed as one of the finest string quartets of the world.
The program opened with a quartet by Joseph Haydn, which was admirably rendered in the style of the composer. In the second group two very acceptable numbers were presented—a brilliant scherzo, by Glazounoff, and a berceuse by Iljinsky. A remarkably clear and appreciative reading of the great quartet by Grieg brought prolonged applause from the listeners. Two numbers of peculiar merit were an interesting composition by a contemporary American composer, Whithorne—“Postorale” op. 19—and the minuet from D minor quartet by Mozart. The “Andante Cantabile,” op. 11, by Tschaikowsky, which was the last number on the program, was interpreted with beautiful sincerity and a fine appreciation of its musical possibilities. Several encores were given.
Dicie Howell Proves Popular.
The third number of the festival, a recital by Dicie Howell, was given Thursday evening. Her voice is a high soprano of great brilliancy and clearness of tone. She has an excellent lyric voice with good production. The program was varied, including songs from Old English and Italian as well as modern arias from “Louise” and “Tosca” and modern songs by English and American composers. Miss Howell substituted “Songs My Mother Taught Me,” by Dvorak, for one of the numbers in the second group. The number is a great favorite with Emporia audiences and was much enjoyed. Gladys Holmes accompanied her on the piano.
Salzedo Harp Ensemble Concert.
The closing number of the festival, a concert by the Salzedo Harp Ensemble, which was held Friday evening, offered one of the most novel and pleasing concerts ever
MEMBERS OF THE ZOELLNER QUAR-TET, with D. A. Hirschler, dean of music at the College of Emporia, at the eighth May Music Festival, held in Emporia, Kan., May 2, 3, 4, 5. Left to right: Joseph Zoellner, Sr.; Dean Hirschler, Antoinette Zoellner, Joseph Zoellner, Jr.
tendered to an Emporia audience. The largest crowd of the festival greeted the performers with liberal applause throughout the entire concert.
Seven harpists, six young ladies and Carlos Salzedo, the founder and conductor of the ensemble, gave a pleasing account of themselves and their chosen instrument in a program ranging from Bach to Debussy. Those few persons who attended the concert with the idea of hearing commonplace harp music were disillusioned, for a richness of effect and a variety of resonance was brought forth from the seven instruments that was amazing. No one could fail to be charmed by the polyphonic effect of the Bach dances or the rich color effect in the modern Debussy numbers. The solo work of Mr. Salzedo and Marie Miller was also pleasing. Among the best liked encores was an original number with comic and novelty effects written by Mr. Salzedo.
Credit Due Daniel Hirschler.
The entire festival was under the management and supervision of Dean Daniel A. Hirschler of the Music School of The College of Emporia. This festival was founded by him eight years ago and a great number of artists and artist organizations have appeared under its auspices and a large number of choral works of modern as well as classic style have been presented. The choral work omitted this year from the festival proper will be sung May 30 by the College Oratorio Society with the assistance of the college orchestra. Coleridge Taylor’s “Hiawatha’s Wedding Feast” is the cantata to be performed. The value of the music festival under Mr. Hirschler’s guidance in making for musical uplift and inspiration in Emporia and in the college, whose students come from all parts of the state and neighboring states, is inestimable.	M. G.
Hurlbut Artists in Demand
Artists from the studio of Harold Hurlbut, de Reszke disciple, continue to be in demand. Gertrude Early, colora-
© Mishkin
NINA
MORGANA
Soprano
Metropolitan Opera Company
Now under her own management
Desiring to have her own personal management, Miss Morgana has concluded her arrangements with the Metropolitan Musical Bureau with the fullest good will.
CONCERTS and RECITALS for 1922-23 SEASON NOW BOOKING
For dates and particulars, please address
The Management of NINA MORGANA
110 West 55th Street New York City