June 1, 19 2 2
MUSICAL COURIER
DAI BUELJj,
ivho scored a success at a recent Boston benefit concert.
by the Russian singers, Nina Koshetz was the star, and she again invested the role of Lisa with all the necessary ardor, sadness and horror. Her beautiful voice and natural acting won her a well deserved ovation. Mrs. Popova is excellent in character parts, and she, too, won no little applause as the Countess Pique Dame. Vladimir Daniloff, M. Gorlenko, J. Lukin and Miss Mirovitch were other members of the cast who had important roles. Eugene Feurst conducted.
“Cherevichky.”
On Saturday evening, May 27, Tschikowsky’s interesting opera, which had its premier here on Friday evening, was repeated before a good sized audience with the same cast.
Annual Convention of N. Y. F. M. C.
The annual convention of the New York State Federation of Music Clubs is to be held at the Hotel Pennsylvania, New York City, June 5. 6 and 7, in conjunction with the Musical Industries Chamber of Commerce, which is to hold its national convention at that time. Interesting programs have been prepared under the direction of the program committee, of which Edna West is chairman. Monday morning the registration of delegates and alternates will take place, followed by the reports of various committees. After luncheon will follow a conference of federated club presidents, and in the evening, in honor of the Columbia University Glee Club, the Federation announces a musique-dansante at the hotel.
Tuesday morning will occur the junior session, presided over by Teresa Maier, State junior chairman. The guest of honor will be Frances Elliot Clark, director of the educational department, N. F. M. C. There will be a juvenile study club meeting and a round table talk. Among those who are to be heard are Helen Vogel, Beatrice Weller, Robert Murray, Florence Stern, Rosemary Pfaff. At 1 o’clock the Federation luncheon will take place at the hotel. In the evening the Federation Concert Presentation Committee, will have charge of a program on which are scheduled to appear Cosme McMoon, Beatrice Weller, the Norfleet Trio and Mary Bennett.
Wednesday morning will open with the official business meeting and election of officers, after which the general public is invited to attend a session entitled “Expression and Suggestions.” Among the speakers to be heard are: Mrs. J. C. Downs, State president of Connecticut; Dr. Bartlett Burleigh, Johns Hopkins University, Baltimore; Elizabeth Hood Latta, president, Pennsylvania State Federation; Carolyn Beebe, chairman, Chamber of Music Committee, N. Y. F. M. C.; Geoffrey O’Hara, chairman. Community Music, N. Y. F. M. C.; Mrs. Frederick W. Abbott, Philadelphia Civic Music League; George Gartlan, director of music, public schools, New York City; Frances Elliot Clark, director of educational department, N. F. M. C.; Nan Bagby Stevens, president, South Atlantic District, N. F. M. C.; Harriet Seymour, director of New York State Federation of Music Clubs; Miss Borchard, Bureau for Advancement of Music; Sada Cowen, chairman, Young Artists’ Contest Committee, N. Y. F. M. C.; Howard Clark Davis, chairman of Public School Music, N. Y. F. M. C., and F. S. Wardwell, district president of Empire District.
In the evening a Federation concert is to take place at the Hotel Pennsylvania, the program to be given by Sue Harvard, soprano; Carolyn Beebe, pianist; Samuel Roberts, Welsh tenor, and the New York Welsh Glee Club, under the direction of D. B. Evans.
Rethberg and Bender with Wolfsohn
The Wolfsohn Musical Bureau announces that Elizabeth Rethberg, soprano, who will appear with the Metropolitan Opera Company next season, and Paul Bender, the new baritone of the same organization, will be under its exclusive management for concerts, recital and oratorio after February 12, 1923.
Concert Organist, Conductor, and Accompanist.
1 nstruction, Piano Theory and
Counterpoint
Robert
Formerly assistant to Mengelberg
351 West 57th Street, New York Tel. 9888 Circle
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AGIDE JACCHIA GREETED BY
ORCHESTRA AS U. S. CITIZEN
Notable Recital by Vincent Hubbard’s Pupils—Give Cadman Song Cycle and Solo Numbers—Testimonial to Harry
Brown—Dai Buell Plays for Charity—Conservatory Notes
Florence Crittenton Home. Miss Buell's pieces were drawn from Bach, Paradies, Liszt, Chopin and DebussY. Her art made its customary appeal and she was obliged to add extra numbers, playing pieces by Mendelssohn and Chopin.
Fifth Infantry Band at Conservatory.
Complimentary to the faculty and students of the New England Conservatory of Music, a concert was given through the courtesy of Colonel Knight in Jordan Hall, May 24, by the band of 'the Fifth Infantry, U. S. A., recently returned from service as Headquarters Band of the American Army of Occupation in Coblenz, Germany. The concert was under the direction of Warrant Officer George Kazamek.
The program was as follows: Planquette March, “Sam-bre et Meuse;” Bach, prelude, chorale and fugue; Weber, overture to “Oberon;” Fuchs, Fantasia for solo cornet, Sergt. David Brunswick; Gounod, Selection, “Mireille;” Mosmer, “Southern Rhapsody;׳' Kazamek, Trumpet March, “Remembrance of Dover;” “The National Anthem,” instrumentation by Wallace Goodrich.
This band organization during its residence abroad under an able and experienced leader familiar with band conditions in all European countries, has achieved a standard which, it is hoped, will become general in the American service.	J. C.
THIRD WEEK OF RUSSIAN
OPERA AT NEW AMSTERDAM
Repertory the Same, with an Occasional Change in Cast
“Tsar’s Bride.”
The third week of the Russian Grand Opera Company opened with a performance of the “Tsar’s Bride,” on May 22. The chief attraction, as it has been all along, is the singing of Nina Koshetz as Lubasha. The remainder of the cast continued the same that has been offered before. This opera of Rimsky-Korsakoff has proved a novelty, and will be given once more before the season is over.
“Demon.”
“Demon” was repeated on Wednesday evening, May 24. Nina Koshetz was on this occasion the Tamara, her singing appearing even more beautiful than on Monday evening. Jacob Lukin was Demon. These were the notable changes in the cast as compared to the performance of last week. Michael Feveisky conducted as formerly. The Rubinstein opera is very interesting. It was hoped that the attendance for the third week would greatly increase, but no doubt owing to the wonderful summer weather that has prevailed, the attendance was under expectation and an early closing was forced.
“The Snow Maiden.”
The repetition of the Rimsky-Korsakoff opera emphasized once more the fact that while the Russian Company has no singers to compare with those who sing the same work at the Metropolitan, on the other hand the Metropolitan has little of that native spirit which pervades the performance of the Russian company. It is too bad that they cannot make a combination of the two at one theater or another.
“Eugen Onegin.”
On Thursday evening, May 25, “Eugen Onegin” was repeated with Sophie Osipova as Tatiana and Miss Moro-vitch as Olga, while the title role was in the hands of Vladimir Radeeff and that of Liensky entrusted to Nicholas Busanovsky. The performance was, as formerly, interesting as rendered by these singers and was warmly appreciated by the audience, which gave the singers generous applause. Conductor Feurst was again the wielder of the baton.
“Cherevichky” (“Christmas Eve”).
The Russian Grand Opera Company produced “Cherevichky,” also known as “Cherevichek (“Christmas Eve”), “The Caprices of Oxana,” etc., Tschaikowsky’s comic opera, from Gogol’s “Christmas Eve Revels,” based on the quaint folk tales of “Little Russia,” that portion living in Southeast Russia. It seems that Grand Duchess Helena commissioned Serov to compose the music of this libretto, but on his death it was handed over to Tschaikowsky, under whom it was produced in Russia not long after his visit to this country, for the dedication of Carnegie Hall, New York, about thirty years ago. The opera is full of varied movements, many Russian folk melodies, usually in minor, with devil, small devils, a witch, the Czar, all booted, wearing the variegated colors usual with the peasant folk. There is much humor of a rough sort, with hiding of would-be lovers in sacks, a haughty Oxana (Marie Mashir), and everything is sung in the original Russian language.
The present scribe caught an occasional word like “vodka,” “nitchevo,” “b’rounoff,” “m’ana-zuc,” “krriehn” and “nagrom,’ all more or less known to us. Tenor Svetloff sang somewhat vociferously, giving forth high Bs of fervency ; Leonid Gorlenko portrayed a vivid horned-and-tailed devil; Mr. Kosloff’s character part of the old schoolmaster, a veritable Beckmesser No. 2, was the best of the lot. The intermezzo was so well played by the orchestra that the audience “stopped the show” with applause, Conductor Feveisky receiving his share throughout the evening; it was well deserved, too. The choruses were well sung; indeed, only fifty persons in all (singers and orchestra together) gave forth a tremendous volume of sound. It was 11:20 when tenor Svetloff and heroine Mashir finally found each other, presumably “living scrappily together ever after.”
“Pique Dame.”
Despite the fact that there was a very small audience at the New Amsterdam Theater for the afternoon performance of “Pique Dame” on May 27, the listeners were unusually appreciative and the applause enthusiastic. •As on former occasions when this opera has been presented
Boston, Mass., May 2S.—A recital of noteworthy merit was that given by advanced pupils from the Boston studio of Vincent V. Hubbard, the distinguished vocal instructor, last Monday evening at Jordan Hall. The program opened with an artistic and highly enjoyable performance of Cadman’s melodious song cycle, “The Morning of the Year,” sung with conspicuous skill and sympathetic understanding by Agnes Ryan, soprano; Georgina Shaylor, contralto; Harry Brown, tenor, and Arthur Morse, bass. The balance of the program comprised operatic arias from Ponchielli, Massenet and Puccini, together with songs by Bleichman, Hageman, Keel, Duparc, Hawley, Reichardt, Wolf and Manney. The soloists were Laurilla Baillargeon, Luman Clogston, Emily Gaudette, Frank Larson, Ruth Marden and Harry Brown. Frances Weeks was an able and helpful accompanist.
It was interesting to observe the degree of success with which these young singers had grasped the principles of bel canto as exemplified in the Hubbard method, a method which has won no little fame through the success of such exponents as Charles Hackett, Roland Hayes and Arthur Hackett. A large audience gave the singers a warm greeting and there were many recalls.
This concert took the form of a testimonial to the talented Greek tenor, Harry Brown (Anglicized from Aristo-menis Mitsopulos), whom Mr. Hubbard is taking to Italy next month. The young singer is to study the histrionic phase of his operatic roles in Milan during the next two years, after which he will probably make his debut in one of the Italian opera houses. Mr. Brown is gifted with a lyric tenor voice ranging from low C to high E flat, his top tones being unusually clear and resonant. He was employed in a Worcester restaurant when he
VINCENT HUBBARD
began to study with Mr. Hubbard five years ago. Mr. Brown made his local début as a concert singer this season. His career will bear watching.
Orchestra Plays National Anthem for Jacchia.
The Boston Symphony “Pops” Orchestra, under direction of Concertmaster Jacques Hoffmann, greeted its popular conductor, Agide Jacchia, with “The Star Spangled Banner” last Monday evening when he appeared on the stage of Symphony Hall to conduct his first concert as an American citizen.
Mr. Jacchia has been a resident of this country since 1914. Previous to that date he had visited America several times as conductor of various opera companies, first coming here with Mascagni’s company. After further activities in Italy he again toured the United States, Central America and Canada with the Milan Opera Company. Mr. Jacchia conducted Italian opera in New York at the Academy of Music in 1909, at the Century Theater in 1914, and joined the Boston National Opera Company for the season of 1915-16. In Boston he is known not only as conductor of the celebrated “Pop” concerts, but also as founder and director of the Boston Conservatory of Music and as conductor of the Cecilia Society.
Mr. Jacchia was born in 1875 in Pesaro, Italy, and graduated from the local conservatory of music, where he studied with Mascagni. His wife, whose stage name is Esther Ferrabini—widely known for her extraordinary interpretation of Carmen—and his daughter, have made their home in Boston since they came here from Italy two years ago.
Dai Buell in Charity Concert.
Dai Buell, the well known pianist, was heard in a recent concert at the Copley-Plaza for the benefit of the
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