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MUSICAL COURIER
June 1, 19 2 2
THE KRIENS SYMPHONY CLUB OF NEW YORK AND THE PLAINFIELD SYMPHONY ORCHESTRA, numbering over 200 players, Christiaan Kriens founder and conductor. Barbara Maurel, soprano soloist, is standing next to the flower bedecked conductor’s stand; next to her is Charles D. Isaacson, Conductor Kriens immediately behind; Mabel Wood Hill, composer, whose “Crania” (manuscript) was performed, is next. The photograph was taken in Carnegie Hall, New York, following the concert of May 20, 1922.	(Drucker & Baltese photo.)
Onegin Scores in Munich as Amneris
Sigrid Onegin, who will be heard with the Metropolitan Opera Company next year, has just scored a great success as Amneris in “Aida,” in which role it is said her voice and histrionic ability are extraordinarily effective. The mere announcement of her appearance in this role at the National Theater in Munich is sufficient to sell out the house. “After the great scene in the last act,” writes a German critic, “they recalled Mme. Onegin time and again and would not stop applauding her. And did she not have every right to this boundless enthusiasm? Did not the work of this artist so shift the artistic balance that it should be called ‘Aida and Amneris’? It is odd Onegin brings about this sensation. To be sure she has a magic medium at her will, a schooled, most beautiful contralto voice, flexible as steel, soft as velvet, and shining as brocaded gold. But this inner beauty could not evoke this change; for the soul is not enflamed by sheer beauty, the ear soon wearies of it. There is a sympathetic feeling for the loving and unloved Amneris who breathes a god-like air into the noble form. This sympathy is a manifestation of the great art of Sigrid Onegin. One could hardly call the artist a tragedienne in the theatrical style and yet she impressed us no less than her great sisters in the allied arts. If their power is mightily dramatic, Mme. Onegin woos and wins us with a soul-stirring and delicately sympathetic art. As her vocal expression grows tender and tense with feeling, but not with sentimentality, so do her beautifully chiseled features reflect every mood.”
“Aida” Opens Panama Season of Bracale Opera
Panama, Central America, May 11.—The Bracale Opera Company opened its season here on May 10 with “Aida,” those appearing in the cast being Joseph Palet, who received an ovation after his first solo, “Celeste Aida;” Louise Darclee Taylor, in the title role; Miss Tomiolo, as Amneris, and the baritone Fatiganti as Amonasro. Mr. Palet was in excellent voice and revealed a fine mellow voice that came somewhat as a surprise. He was warmly received, especially after the duet in the last act with Aida. Fatiganti did an admirable piece of singing and acting as Amonasro and should be heard in New York. Miss Taylor, who is known to New York audiences, was heard to advantage in one of her favorite roles, Aida. The Amneris of Miss Tomiolo was very good and she made a regal picture, also showing a magnificent voice of power and quality.
The ballet consisted of girls from the corps de ballet of the Metropolitan Opera Company, headed by Florence Rudolph, also of that organization. Miss Rudolph received an ovation which was prolonged for several, minutes, for she was much admired for the originality of her dances and her skill and charm. Maestro Padovani conducted, giving a worthy reading of the old but popular score. Future performances for the rest of the week were “Gioconda” and “Sonnambula,” with Tina Paggi in the principal role.	A. P.
Boyd Lists American Women Composers
All of the choral numbers listed on the program given by the Tuesday Musical Club of Pittsburgh, Pa., on the afternoon of May 2 were by American women composers. The concert, under the direction of Charles N. Boyd, proved to be a most enjoyable one. The following day, May 3, Mr. Boyd led The Cecilia, the choir of the Western Theological Seminary, in a program of church music at the Highland Presbyterian Church.
Another New York Engagement for Salmond
Annie Friedberg has just booked Felix Salmond, the English cellist, for a joint recital with Harold Bauer at Carnegie Hall on December 17. This is the third New York engagement which this eminent artist will fill during the first part of next season and before he goes on tour to the West.
Barbara Maurel and Nelson Illingworth were the solo artists.
The orchestra numbers were given with fine esprit, precision of attacks and good ensemble of tone. Mr. Kriens conducted with vigor and energy and the players responded readily to his wishes. Mr. Kriens’ own “Suite Bretonne” was delightful, with its varied and contrasting tone pictures. Mabel Wood Hill’s introduction to the play, “Grania,” proved to be a charming work, cleverly written. This was its (manuscript) first performance. The composer, sitting in a box, acknowledged the applause and received a large bouquet of American Beauty roses.
Barbara Maurel, mezzo soprano, sang the “Habanera” from “Carmen” with orchestra accompaniment, and later gave an interesting group of songs with Frederick Bristol at the piano. She was received with great enthusiasm. Her voice is of resonant, rich quality and of excellent range. Her low, deep tones are particularly effective.
Mr. Illingworth’s songs were orchestrated by Kriens, who made much of orchestral effects in the accompaniment.
Among the floral tributes received by Mr. Kriens was a full-size conductor’s stand. The organization also presented him, as an expression of appreciation, a beautiful silver loving cup. The following program was presented:
Overture:	“Der Freischütz”.................................•Weber
Andante front Fifth Symphony..........................Tschaikowsky
Habanera (from “Carmen”).....................................Bizet
Miss Maurei
Address by Charles D. Isaacson...................................
“Erlkirig” ................................................. Loewe
Mr. Illingworth
“Suite Bretonne” ...........................................Kriens
A Saint-Malo
Gavotte de la Duchess Anne La plage de Parame Fete Bretonne
Introduction to the play:	“Grania”..............Mabel Wood Hill
Manuscript, first performance
“Waiata Maori” (Maori Song)...........................Alfred Hill
“Waiata Poi” (Poi Song)...............................Alfred Hill
Mr. Illingworth
Lungi del caro bene.........................................Secchi
De Fleurs ................................................ Debussy
The Soldier’s Bride.................................  Rachmaninoff
Floods of Spring......................................Rachmaninoff
Barbara Maurel
March “Pomp and Circumstance”................................Elgar
The Kriens Symphony Club Concert
The tenth anniversary concert of the Kriens Symphony Club, Christiaan Kriens, conductor, was given at Carnegie Hall, Saturday evening, May 20, before a crowded house. In the ten years of its existence this organization has made rapid strides and has accomplished much actual good. Its purpose is threefold: to train musicians for the American orchestras; to offer an opportunity to young
CHRISTIAAN KRIENS,
founder and conductor of the Kriens Symphony Club.
singers and instrumentalists to rehearse and perform with orchestral accompaniment, and to rehearse and perform the manuscript works of American composers. Symphony orchestras of tomorrow must have trained, experienced players to fill the gaps, and with the increasing number of symphony orchestras throughout the country, musicians with good orchestra training must be ready.
There are both young men and young women in this orchestra, and the vivid splashes of color relieving the
BARBARA MAUREL,
mezzo soprano.
usual comberness of orchestras were pleasing. On this occasion the club (one hundred and twenty-five players) was augmented by the Plainfield Symphony Orchestra, the combination resulting in over two hundred players.
Daoíú anú Giara ffianne^.Directorí
SINGING DEPARTMENT
COURSE LOR OPERA AND CONCERT
( GIULIO SILVA
Individual Singing Lessons ............................< MYRON W. WHITNEY
( MARGARET L. TORRENS
Singing Class for Professionals ....................................GIULIO SILVA
Solfege ...................................................ANNE MARIE SOFFRAY
Dirt¡״״	f LORAINE WYMAN (English, French)
........................................IMATILDE TRUCCO (Italian)
Ensemble Singing ...................................................GIULIO SILVA
Choral Class ..............................................DAVID McK. WILLIAMS
Stage Instruction (for Opera Students sufficiently advanced).........MILLO PICCO
Lecture Classes
COURSE IN VOCAL PEDAGOGY
This course is planned for those who have already had a thorough and intensive musical training and wish to specialize in the subjects whose practical application are necessary in the teaching of singing.
Class in the Theory of Pedagogy.....................................GIULIO SILVA
Class in Practical Pedagogy (Observation and discussion of the work of Mr. Silva’s
Singing Class for Professionals)............................GIULIO SILVA
Piano Instruction in Accompaniment, Sight Reading, Transposition and the Reading
of Vocal Scores...........................................................
Ensemble Singing ...................................................GIULIO SILVA
Choral Class ..............................................DAVID McK. WILLIAMS
Telephone Rhinelander 0010
157 EAST 74th STREET
Applications Received Now