June 29, 1922
MUSICAL COURIER
48
AMUSEMENTS
Direction Jos. Plunkett, Broadway at 47th Street Week Beginning July 2.

«James Oliver Curwood’s
“GOD’S COUNTRY iff LAW”
STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
B'way at 51st St “Subway to Door״ EDW. BOWES Mng. Dir.
CAPITOL
World's Largest and foremost Motion Picture Palace
Week Beginning Sunday, July 2.
GOLDWYN PRESENTS
“THE DUST FLOWER”
and a Typical Supporting Capitol Program
CAPITOL GRAND ORCHESTRA E™°nRuAcR0EE
Presentations by S. L. ROTHAFEL
However, it hardly deserves the unqualified praise that it has received.
The “William Tell” overture was given a fine reading by Conductor David Mendoza on Thursday night. A “Scarf Dance” to music by Chaminade was the most artistic of a group. Zanou, Niles and Repelski danced the number, Zanou again attracting special attention. This was followed by “Schon Rosmarin,” interpreted by Gamba-relli in her purely Italian style of toe dancing. Frederic Fradkin, the concertmaster, accompanied Gambarelli. The last of the group was one of S. L. Rothafel’s delightful riots of color, a little setting for that popular song of eight years ago, “Auf Wiedersehn,” which was sung by Gertrude Lang and William Robyn as־ a duet. Miss Lang’s voice has better carrying qualities than Mr. Robyn’s. There were many phrases in which he could not be heard. This1 is Miss Lang's debut at the Capitol. She sings this type of composition charmingly. They really could have had an encore. The soloist was Augusta Lenska, of the Metropolitan Opera Company, although she has not been heard there often. During the past season she was one of the principal soloists at a Sunday night concert at the Metropolitan and received enthusiastic criticism from the local press. Last week she sang the grand aria from “Le Prophet,” accompanied by the Capitol Symphony Orchestra. Miss Lenska has a fine quality of voice and it seems to be pure contralto quality. There were several cuts in the aria, but it did not particularly detract. She made an unusually good impression, and no doubt will be heard again. Mauro-Cottone, organist, played as his solo the “Pilgrims’ Chorus” from “Tannhäuser” and received considerable applause. No doubt the audiences are beginning to realize how fine these solos really are.	May Johnson.
Musical Comedy-Drama-Motion Pictures
The feature was May McAvoy in “The Top of New York.” It was the same old story—little crippled brother, hard working sister, heavy comedy by Irish aunt, villain and lover—all the same old bunk. When will the directors stop pictures of this type. It must be said, though, that the photography was not nearly so bad as the story, and as for the star, a blond wig was not at all convincing and there is nothing in her acting that is other than commonplace. She is absolutely uninspired.
The Strand.
The program began with “La Forza del Destino” as an overture, with Kitty McLaughlin, soprano, singing the aria. She has a fine quality of voice, as we have said before, and this selection was the most difficult the writer has heard her attempt. The orchestra on Monday night was not quite secure and there was no excuse for the lack of support from the harpist. Director Carl Edouarde made frantic motions to some of the musicians to cease “playing out of turn.” When they finally understood him, things moved on nicely. Madeleine MacGuigan, violinist, was again one of the soloists. Despite her musicianship, she was ill advised in her selection, a cheap, bombastic fantasie on “Carmen” (Hubay), with original phrases. Perhaps the audiences later on in the week were more enthusiastic. Some of us who know how well this young lady can play were not at all impressed with the fireworks. The feature picture was “One Clear Call,” and it commanded attention not so much by the story as by the acting of the principals, particularly Henry D. Walthall. This picture came very near being a great film. It could be much improved.' If it had not been suffocated with titles and long-winded explanations, the picture really would be a distinct, success. They seem to underestimate the intelligence of the average movie fan, and they certainly could improve the picture by culling the last scene. Mr. Walthall gave a vivid and convincing portrayal of the gambler, and Edith Yorke, as his blind mother, also must be commended, even though she did not entirely understand how blind people look and hold their heads; however, this is a common mistake. Did it ever occur to an actor or actress to visit some eye hospital and study these unfortunate creatures ? It would certainly improve their interpretation. “One Clear Call” is good entertainment.
The Capitol.
A great deal has been written in the past days, and everyone is speaking authoritatively regarding the film “The Storm.” The one outstanding feature is the exceptionally good acting by the three principals—House Peters, Matt Moore and Virginia Valii; also the small part played by Josef Swickard. (This production is a Universal-Jewel.) House Peters has always been admired, but in “The Storm” it seems that he has accomplished the best results of his career. Of course, the pictures showing the forest fire are most impressive, but after “Nanook” the snow storm failed to attract the attention that it might have otherwise. “The Storm” will be sent all over the country, and it will doubtless prove a financial success because it has all the qualities that will attract the public.
The Rialto.
The overture last week was “Pagliacci,” with Director Riesenfeld and his assistant, Joseph Littau, conducting. The number is always received cordially, for the simple reason that the opera is a great favorite and a big majority of the audiences which attend these Broadway motion picture houses are familiar with opera. The first soloist was Emma Noe, soprano, singing “The Melody of Love,” Lehar. Miss Noe is a newcomer, and the audiences seemed to like her singing. Perhaps the number that attracted most attention was that of the new Wurlitzer organ that has just been installed. This was demonstrated by Otto F. Beck. Of course, it is extraordinary what these instruments can do. It has some splendid features in its ability to reproduce an orchestra, but the temptation all along, with the organist at the motion picture theater, has been to play the instrument in a manner that is far from being artistic and the selections many times' are pure jazz. It must be said in justice to the organists at the four big theaters—Rivoli, Rialto, Strand and Capita,1—tha£ they have done much to improve the situation, but they still have a long way to go if they expect to attain the fine artistic results to which the symphony orchestras have arrived. It would seem that every conceivable sound has been added to the Wurlitzer. Now the question is, if these instruments are installed all over the country and are not in the hands of sincere musicians, what is going to be the result? Organ music will become an abomination in the motion picture theater. The development along these lines will be watched carefully, and it will be interesting to note how this one will be received at the Rialto after the novelty-wears off.
A “Javanese Dance,” by Martha Graham, is another of the music films that have been shown to considerable success at the Riesenfeld theaters. These are original dances by Ted Shawn, and are colored my Prisma. The last soloist was Giuseppe Intcrante, baritone; this singer has a pleasing voice which he uses well. The feature picture was Mary Miles Minter in “South of Suva.”
As motion pictures go, it is pretty fair, but certainly lacked all of the familiar landing places of this island in the South Seas. Of course, it is possible for the docks to be changed every couple of years. We couldn’t recall a single scene.
The Rivoll
Victorina Krigher was charming in her interpretation of the second Hungarian rhapsody. It has been weeks since her dancing was so sympathetic. She created quite a little bit of enthusiasm the other evening. Just before the feature a little prologue, arranged by Josiah Zuro, “The Sweetest Story Ever Told,” was offered by Mariam Lax and Adrian da Silva:	These scenes appeal, and ever since Mr.
Riesenfeld has had charge he has rather specialized in giving prominence to these old songs. Oswald Mazzucchi, first cellist of the Rivoli Orchestra, was another soloist; he played the “Berceuse” from “Jocelyn,” and the number was well rendered. The overture was “Masaniellq,” conductors Stahlberg and Baer alternating at the director’s stand.
Paula Hegner’s piano playing at the Gerhardt recital, and the singer gave further proof of her own artistry in insisting on the pianist’s taking the whole of the acclamations in two of the songs.
CHICAGO
(Continued from page 45)
W. Anderson medal, Astrid Aronson. Eleanor Koskiewics received a medal for the greatest progress in piano playing in the department, and medals for excellence in ear training and theory in the elementary, secondary and intermediate grades respectively were awarded to Pearl Klein, Cecelia Vaslow and Leila Alexander.
The School of Acting, under the direction of Walton Pyre, which gave a performance of one-act plays and scenes from Shakespeare’s “Othello” and “The Merchant of Venice” Monday, offered another performance at Central Theater Friday evening. There were set forth “The Man in the Shadow,” a mystery comedy in three acts, in which Mr. Pyre himself appeared, supported by his advanced students.
James Durham, student of the voice department, has been engaged to sing the principal tenor roles in “The Mikado” and “The Pirates of Penzance” on tour.
Louise St. John Westervelt Studio Notes.
Geraldine Rhoads, contralto, starts on July 9 for a seven weeks’ tour with the Mercer Concert Company of the Independent Cooperative Chautauqua.
Marion Papps, soprano, has been engaged as soloist at the Washington Boulevard Methodist Church.
Flora Waalkes Presents Pupil.
On Wednesday evening, June 14, Flora Waalkes presented a gifted mezzo soprano pupil, in the person of Margaret Patterson, in song recital at the First. Roseland Baptist Church. Miss Patterson had the assistance of Charlotte Beyer, pianist. The songs Miss Patterson sang and which she did very well, indeed, included Carey, Young, Old English, Donizetti, Del Riego, Strickland, Foster Clarke and Thomas compositions. Miss Waalkes is a busy soprano and teacher and is kept constantly active throughout the season in both capacities.
Musical News Items.
Carl Craven was tenor soloist at the concert given at Calvary Presbyterian Church, June 23, under the direction of Haydn Owens. He sang the tenor role in “The Tale of the Bell” by Romberg, and the following group of songs —“The Pilot” by Protheroe, “Flower of Moon” by Strickland, and “Ma Maison” by Fourdrain.
Lillian T. Johnston’s host of friends will be glad to know she is conducting a special summer course in voice culture at Flint (Mich.), where she can be reached during the summer months by those seeking her professionally.
Jeannette Cox.
E. S. Williams, the cornetist, added two insistent encores.
. June 23.
The largest audience so far this season attended the concert on Friday evening, June 23. This was perhaps due to the excellent program provided by Mr. Goldman, the first part of which contained three Beethoven numbers—overture “Egmont,” andante from fifth symphony, and “Leonore” overture, No. 3. Part II was made up of Von Suppe’s "Light Cavalry” overture; two dances from “Feramors,” Rubinstein; “The Great Awakening,” Kramer; waltz, “Vienna Beauties,” Ziehrer, and excerpts from “Rigoletto,” Verdi.
The audience showed its pleasure and appreciation during the entire evening. This was particularly noticeable during the rendition of the Beethoven selections. Encores by the band were “Chimes of Liberty” march, Goldman, which the composer-conductor played by special request; the ever popular “Sagamore” march, and “American Patrol,” by Meacham.
Lotta Madden, who has endeared herself to her audiences by her outstanding art, was the soloist, her program number being “The Great Awakening,” Kramer, to which she added as encores “Love’s in My Heart,” Woodman, and Edwin Franko Goldman’s charming song (new) “In the Springtime.”
OPINIONS OF THE PRESS
(Continued from page 47)
the songs themselves, intelligently poising the well-known by the less popular, adroitly contrasting the various moods, was a work of art. It showed the wide range of expression which Brahms possessed as a song writer, second only in this respect to Hugo Wolf, and in an exquisite way both the singer and the pianist contrived to render every shade of which the music and the poems were capable. It was done with that simple directness which is derived from complete mastery over voice or keyboard, a mastery which neither seeks nor shuns difficulties and enables an artist to subordinate every effort to the greater glory of his art. In some of the songs (“Im-mer leiser wird mein Schlummer,” “Vergebliches Staendchen,” “ Un -b wegte Laue Luft,” “Auf eine Aeolsharfe,” to quote but these) the perfection of the ensemble seemed to add an emotion of its own to that which quivered in certain notes of the voice. It was not surprising that the great singer had here and there to' wipe the corner of her eye. So did I.
The critic of the “Glasgow Herald” was no less enthusiastic :
Elena Gerhardt drew a huge crowd to the Queen’s Hall to welcome her back after an absence of eight or nine years. This is the second recital she has given here this year (the first was in March). She is the ideal Wolf singer, and realizes every mood with the utmost security.	She gives that sense of restfulness which allows
one to forget the singer entirely. The intense longing in “Heim-weh,” the love ecstasy of “Auf einer Wanderung,” the right tremulousness of the old mkistrel’s song, “Das Staendchen,” the grim humor of “The Stork’s Message,” the ׳pathos of “Anacreon’s Grave,” the mystic happiness of the “Bethlehem Carol,” the bluster of the “Lied vom Winde,” all were as near perfection as one can possibly imagine. Two hours of German song with a singer like Gerhardt are two hours of delight, and I am no fanatical admirer of German music in toto. ... I must say a word of praise to
COLUMBIA CONCERTS
June 19.
The Goldman Band, Edwin Franko Goldman, conductor, opened its second week of summer concerts on the Green of Columbia University on Monday evening, June 19. The attendance, as at the preceding three concerts, was very large and emphasized the extraordinary popularity this series of concerts has reached. The program presented by Mr. Goldman for the fourth concert contained the following numbers: “Marche Lorraine,” Ganne; overture, “Iphigenie in Aulis,” Gluck; “Andante Cantabile” from string quartet, op. 11, Tschaikowsky; “Pilgrims’ Chorus” and “Song of the Evening Star,” from “Tannhäuser,” Wagner; choral and fugue, Bach; “Miserere” from “Trovatore,” Verdi, and overture to “Maritana,” Vincent Wallace. To these Mr. Goldman was obliged to add as encores “Humoresque,” Dvorak; “National Emblem” march, Bagley; Mr. Goldman’s own “Chimes of Liberty” march (which already has attained a high degree of popularity), and the favorite “Sagamore” march, as well as “The Darkies’ Jubilee,” which latter number was presented by special request.
Frieda Klink, contralto, who gained great favor at these concerts last season, was the soloist, her program number being the aria “Oh, Don Fatale,” from “Don Carlos,” Verdi, which she sang with great warmth and dramatic power. Her fine art again brought forth spontaneous applause and many recalls. As encores she sang “Thy Beaming Eyes” and an aria from “Carmen.”
June 21.
The threatening weather of June 21 was no deterrent in the attendance at the fifth concert of the season on the Green of Columbia University. The large audience showed its appreciation by bestowing liberal applause after each number, and in many cases demanded encores. The carefully arranged program contained:
Marche Héroïque ...................................Saint-Saëns
Overture Sakuntala ...................................Goldmark
Heart Wounds ............................................Grieg
Hungarian Rhapsody II ...................................Liszt
March—The Pioneer (new) ...............................Goldman
In the Springtime (new) ...............................Goldman
Star of the Evening (Valse)............................Goldman
Cornet Soio—The Lost Chord .........................  Sullivan
Ernest S. Williams
Waltz, Tout Paris ...............................   Waldteufel
Cortege du Serdare from Caucasian Sketches.............Ivanoff
Mr. Goldman, as always, infused much fire into his work and was applauded accordingly. Encores given by the band were: "Gate City” march, Weldon; “Chimes of Liberty” march, Goldman, and the barcarolle from “The Tales of Hoffman,” Offenbach.