24
January 11, 1923
the Doctor, presented a fine performance of the Verdi work. Polacco presided over the orchestra.
Il Trovatore, January 2.
Verdi’s time-worn score has been given many performances here this season. The repetition on Tuesday night brought back Cyrena Van Gordon in one of her most successful parts—that of Azucena. Again hearing her flawless delineation of the Gypsy proved conclusively that she is one of the finest Azucenas in the land. On this occasion she registered another triumph to her already lengthy fist. Claudia Muzio repeated her fine Lenore, and the balance of the cast was the same as at previous performances. Panizza conducted.
Barber of Seville, January 3.
Galli-Curci and the delightful Barber of Seville packed the Auditorium. In justice to Galli-Curci it should have been stated that it was she alone who sold out the theater, as indeed it is most probable that only a scant house would have been on hand had any other coloratura appeared as Rosina. Often in these columns this writer has stated that the size of a house should not concern the readers of musical papers nor should critics on the dailies devote space to the size of an audience, but an infraction to this rule is made to point out once more that the vogue of Mme. Galli-Curci is steadily increasing. The audience, which by paying for seats has the first right to judge an artist, expressed vociferously its contentment by shouting approval and clapping hands until the palms hurt.
Galli-Curci, in glorious voice, sang admirably the role of Rosma, m which she was coquettish and funny and which she costumed superbly. In the singing lesson she sang the Polonaise from Mignon in fine style, after which Home, Sweet Home, and so great was the demonstration that thé no-encore rule had to be broken for the first time this season, as the public’s insistence made it imperative for the songstress to repeat the number. It was a triumphal evening for Mme. Galli-Curci.
Count Alma viva was entrusted to that sterling artist, Tito Schipa, whose hold on the Chicago- public grows stronger after each appearance. In such roles as that of the Count in The Barber, Schipa gives entire satisfaction His singing was divine. After the Serenade in the first act he was the recipient of an ovation the like of such is seldom witnessed at the Auditorium, and all through the course of the evening he displayed his musical as well as vocal gifts to best advantage. A real singing lesson, as it were, Mr. Schipa gave his hearers. Histrionically speaking he was as excellent. Other tenors may well take his Alma-viva as a pattern.
. A jolly Figaro was the one of Giacomo Rimini, who finds in the part much personal merriment and that pleasure is well reflected in his acting as well as his singing, and he kept the audience in good humor throughout the performance. In superb form, he sang not only the Largo al factotum gloriously, but also surprised even his most sanguine ad-mirers^ by the beauty of his tones all through the evening. Rimini is incontest_ably_ one of_ the best Figaros of the age. Hr. Bartolo and Vittorio Trevisan are but one as far as the Chicago public is concerned, as the great buffo-baritone has • been heard and seen so often in the part as to obliterate completely memories of other interpreters of the role. A comedian par excellence, Trevisan is never vulgar. He amuses as much by his dignity as by his antics and on more than one^ occasion he had the public in convulsions. This reporter is grateful to him for many a laugh and Trevisan may count Dr. Bartolo among the masterpieces in his gallery of fine portrayals. As ever, he made a distinct hit. Virgilio Lazzari as Basilio was also very funny, but his acting was lower comedy than that of Trevisan. He sang well, pleased the audience, and shared with the stars in the success of the night. Berta was well sung , by that most reliable Maria Claessens, who acted the role with much gaiety. The smaller parts were satisfactorily handled, and Cimini, who conducted, has to lus^ credit one of the season’s very best periormances. Cimini, a thorough musician, is a joy for the singers, as he knows the voice and know how to keep his orchestra proportionate to the organ of the singer. He and his men did well also with the overture and the little stormy intermezzo, both orchestral solos being rewarded by much applause. The stage manager was once more anachronistic.
La Juive, January 4.
At its second performance Halevy’s La Juive had a smoother sailing and a fine performance was offered a large house by Rosa Raisa, Charles Marshall, Edith Mason and Angelo Minghetti, who sang the leads. Panizza was at the conductor s desk and presided with verve and precision.
Samson and Delilah, January S.
Outside the subscription and before a practically soldout
h0vneV?an?SOnT>?nd,D״IlIal1 had lts first hearing this season with Charles .Marshall and Louise Homer as the protago-msts. _ Charles Marshall, who had sung Eleazar in La Juive the night before, had the audacity to appear in one of the heaviest tenor roles, and, though he came out of the ordeal with Hying colors, he should be censured for having accepted the management's challenge, as he has made a precedent that is to be regretted. Having set down this criticism, only words of praise are to be written concerning his singing and delineation of the role. Marshall this season has come through as predicted by his admirers, and he has surprised those who found in him but a mediocre tenor with a robust voice. His Samson could be taken as a model.
(Continued on page 56)
MUSICAL COURIER
Chicago Civic Opera Company
SAMSON AND DELILAH MAKES CHICAGO DEBUT
Performance—Raisa Scores in Revival of La Juive—Macbeth’s Performance of La For/a r)p«t-inn__Renntìtìnnc pi״.׳״״
portant to that of Rachel, Edith Mason, who sang it, found in it one of the best vehicles to show the full gamut of her artistry, and she scored one of her biggest successes since becoming a member of the company. Superbly gowned, she was a picture to the eye and her singing an object of admiration, as was her phrasing, enunciation and style. To rhapsodize over her work is a pleasurable necessity, as only a few words could not convey the lasting impression she made on her auditors. Such singing is seldom heard, singing that reflects credit on Miss Mason’s musicianship, as many singers have voices but little more, while the popular soprano knows how to use her organ to best advantage. It is a docile instrument that she uses admirably and which responds to her mental attitude at will. Histrionically, the role does not necessitate much acting ability, and this is regrettable, as Mason can “play” too. However, her portrayal was as effective as demanded.
Eleazar was well shouldered by Charles Marshall, who, though suffering from a heavy cold, was apparently not hampered in his vocal resources, judging from his clarionlike top notes, which electrified his auditors to such a point of frenzy as to completely stop the performance after the famous aria, Oh, Rachel, Oh, My Beloved Daughter. Marshall, who made a big hit here in Othello—this especially due to his voluminous voice—has since then become a very fine singer, one־ who knows how to differentiate between shouting and singing, and throughout the opera he gave material proof of musical intelligence and vocal artistry. His make-up was so excellent (with, perhaps, the
Eugene Rowland
at his concert debut
at Carnegie Hall Wednesday, Jan. 3rd, 1923
SANG
“LOVE SENDS A LITTLE GIFT OF ROSES”
exception of the nose that projected as a boil) that many thought Marshall a Jew, as he had caught some of the mannerisms particular to that race, such as a swaying of the head and rubbing of the hands, and even his walk was typical. He scored heavily, and no success was ever more justified.
The role of the Cardinal was in the hands of Virgilio Lazzari, a very serviceable member of the company, well routined and always dependable, yet it must be mentioned by this reporter that he registered feebly in the cavernous domains in which part of the basso music is written and at times he was inaudible. Besides, the popular Italian basso, probably for the first time this season, deviated on more than one occasion from true pitch, and his portrayal did not have all the nobility of Cardinal de Brogni. Leopold was sung by Minghetti, the lyric tenor par excellence, the possessor of one of the most beautiful voices ever heard at the Auditorium, but for some unknown reason he still gives the impression of insecurity, and that very uncertainty might have resulted disastrously in one of the finales; but luck was with him, and everything went well. Yet, in the serenade, which he had begun gloriously, he later fal-tered and was not true to pitch. Defrere was satisfactory; likewise Luka, in the smaller roles. Panizza conducted with his customary zest and precision.
Traviata, January 1.
Traviata was again sung on New Year’s night to a most exhuberant audience. As all other Galli-Curci appearances, this was a sell-out. The great diva, with an excellent supporting cast, including Tito Schipa as Edgardo, Giacomo Rimini as Germont, Sr., and William Beck as
First Appearance in Lucia Wins Ovation—First
Lucia, December 30 (Evening).
Chicago, January 6.—The close of the year brought to Chicago one of America’s most popular songstresses and °ne this city’s favorites when Florence Macbeth made her first appearance of the season in the title role in Donizetti s Lucia di Lammermoor. Macbeth has grown considerably since last heard here in opera. Her voice is more voluminous, rounder in the medium register and bigger in the upper register. She came back in best fettle and the public^ was not slow to recognize her great im-provement, giving her an ovation such as few artists have ever received at the Auditorium. At the close of each act she was recalled innumerable times and made a decided “hit’’ after the Mad Scene. It was a Macbeth night. Rimini re-appeared as Ashton, a role in which he has achieved big things this season, and he, too, met with the favor of the audience. The balance of the cast was similar to the previous ones with the exception of the tenor role, which was on this occasion entrusted to Forrest Lamont, who did not appear in the part to such fine advantage as in others in which he has been heard this season. He sang as though^ laboring under difficulties, but played the part with conviction. The^ stage management, once more, was inadequate. Why a bishop’s statue should be found necessary in the home of Ashton is a mystery that probably only the stage manager can explain. Were not Ashton and his family Presbyterians? Scots, Mr. Merle-Forrest, are Presbyterians and not Roman Catholics.
La Juive, December 31 (Evening).
Halevy’s five-act opera, which was billed as having its first performance in Chicago, had often been performed many years ago in this city under the above title, but as there are English, German, and Italian versions, the Chicago Civic Opera Company presented the work here probably first in the Italian under the title of L’Ebrea. Those who maintain that opera should be sung in the language in which it was first written are having their inning; likewise, those who contend that all operas should be sung in English. If La Juive was not to be sung in French, it should then have been sung in English, not in Italian—unless the Chicago Civic Opera Company is to be known, as the Italian Opera Company of Chicago. What has made the Metropolitan in New York and the Chicago Opera the leading operatic enterprises of the world is the very fact that, as a rule, operas are presented in those houses in the language to which the composer had written his music.
The revival was a matter of much rejoicing nevertheless, as three of the principals covered themselves with glory, and Raisa won, in the role of Rachel, probably the biggest success in her long list of triumphs. Edith Mason also rode to fame in the difficult role of Eudoxia, and Charles Marshall strengthened his hold on the Chicago public with a remarkable delineation of one of the tenor’s most difficult and trying parts. Before praising their work, which alone made the long-winded opera one of the most enjoyable of the present season, a word of condemnation seems necessary for the curtailing of the ballet, a happy oasis in the dull score ; then, the stage• management was inadequate and the scenery ludicrious to one who had seen the work performed a few years ago in New York. We recognized much of the scenery from having seen it very often in operas, some of it even dating from the days of the Manhattan, as that in the second scene was that of I Puritani, which, though never produced by the company in Chicago, was part of the purchase the old management acquired from the Hammerstein liquidation. The costumes of the chorus were not very elegant, to say the least; the banquet scene was omitted and so many disturbing elements, such as viewing stage hands from the house, the opening of doors by unseen hands at wrong moments made, in this (as in other) operas, homes of cardinals, counts, study rooms, cells, appear haunted. Perhaps all those errors were very comical to some people who go to thè opera only to be seen, there and who look on those errors as their only amusement and enjoyment, but they were tragic for those who expect homogeneously good performances, and that of La Juive could have been made perfect. Even with the poor scenery, unwise cuts and poor costuming of the chorus, the presentation could have been made a gala one through the work of the principals.
To come back to those who were responsible for the good impression made on the audience by Halevy’s tiresome music, Rosa Raisa must be mentioned in first line. Beautiful to look upon, extremely well costumed, her Rachel endeared her forever to the hearts of opera-goers here. In glorious voice, she sang with great beauty of tone, exquisite shading and fiery temperament. In her aria she • interpolated a cadenza which made the aria of the second act, He is coming, so effective that the audience broke into an avalanche of plaudits that re-echoed throughout the Anditorium, and the tempestuous demonstration was only ended by the vigorous hand of Conductor Panizza. Throughout the evening Raisa was at her very best, pouring out tones of such beauty as to give unalloyed pleasure to the ear ; likewise, throughout the performance she was much feted by her hearers.
Though the role of Eudoxia is in comparison less im-
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RECITALS
Piano
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