MUSICAL COURIER
56
January 18, 1923
not give another recital in New York City proper until April 8, so many requests followed for an extra appearance that the singer’s managers have had to book him before that date. It is learned that they were able to obtain Carnegie Hall for Washington’s Birthday. Requests for special songs for his February 22 appearance will have as much attention as those for an extra recital. The third recital on April 8 will take place as scheduled.
Mr. Werrenrath gave a recital in Symphony Hall, Boston, Mass., the night before the Brooklyn recital, January 7.
Verdi Club Morning Musicale a Success
Florence Foster Jenkins must have felt indeed gratified on the occasion of the January 10 morning musicale of the Verdi Club, Waldorf-Astoria Apartments, not only because of the large attendance and the fine program presented by eminent artists, but also because of the loudly-expressed approbation of everything said and done. Applause was not wanting for her program, and it was well deserved because all the ingredients of the musicale were high class. Such was the singing of Marian Telva, Metropolitan Opera contralto, in O Don Fatale (Carlo Edwards at the piano), which was followed by rapturous applause, and in songs by Wagner and Strauss, with a dainty *encore. Laurence Leonard, tenor (Blair Neale at the piano), showed fine fervor in the Tosca aria, with Snowflakes—and a beautiful mezzo-voce high G—as an encore. Three numbers of individual worth were given by Dr. Melchiorre Mauro-Cottone, on a French “Cabinet” organ (in his family since 1878), by the firm Debain. It hardly equals the American cabinet organs of similar pattern, which, however, did not prevent Dr. Cottone from playing Handel’s Harmonious Blacksmith with variety of touch, including a “spiccato” effect, produced by the striking of the reeds of the organ by hammers. Pieces especially composed by Wely, Moreaux and Brisson, for this instrument, were performed with sovereign technic and taste by this organist, for which he received much applause. President Jenkins presented him with a silver cigarette-case, and also took occasion to thank her many friends for hundreds of Christmas and New Year cards, as well as other expressions of esteem. The salon was crowded, and guests of honor were Mrs. P. Wright Edgerton (President General of the Society of Holland Dames), Helen Varick Boswell (President of The Forum), Melchiorre Mauro-Cottone, Carlo Edwards, Katharine Martin (President Athene) and Mrs. Leonard Hill (President, Criterion Club).
Ashley Pettis “A Boon to Pianists”
Ashley Pettis is meeting with big success on his southern tour, and the critics and public are unanimous in their praise of this young artist and his beautiful, poetic piano playing. The Brownwood Bulletin of Texas, of December 20, writes editorially:
Ashley Pettis appeared in recital in the Howard Payne Auditorium, Tuesday evening. The program was a boon to pianists who rarely have the opportunity of hearing a piano recital of this type Mr. Pettis gave three groups. Throughout the program one was charmed with the sincerity of the artist, his poetic feeling and fine tone quality. He interpreted splendidly the Brahms numbers, giving a ruggedness and sweep to the B minor rhapsody that was gratifying, while the D flat intermezzo was very tender. The Chopin nocturne showed to advantage his fine singing tone and beautiful piano effects as well. The A flat ballade and B minor scherzo were played with warmth and a clean technic. The modern group was particularly interesting. Mirror, written by Mr. Pettis himself, was charming and thoroughly musical, while nothing in the entire program was more artistically played than the Rhapsodic Prelude of de Grass¡, dedicated to the player. Fragment by Kramer, lent a moment of restful color to this group before’ the tremendous demands of Liszt’s St. Francis. His critics have praised him for this number, not without reason. The breadth of the slowly treading melody and difficult left hand work, building up to tine climaxes marked this as a truly great number. The concert was under the direction of Rogers Cockrill (head of the piano department), of the Howard Payne College, and also a former pupil of Mr. Pettis.	״
The Denison Herald writes in part:
An appreciative crowd attended a delightful recital Friday evening by Ashley Pettis, pianist virtuoso. Mr. Pettis, who, according to musical journals, is one of the coming musicians of the country was exceptionally good. He is a real artist, a well rounded and hnely balanced musician. The artist was able to do what but few pianists caii do, that is, make his hearers “feel” his music in nearly every instance of the long and heavy program. His poetic playing made it possible for a person with an untrained musical ear to follow the various moods he was trying to interpret.
More Comments on Dreda Aves’ Carmen
The appended additional comments are taken from. the Toronto Daily papers, and refer to the splendid portrayal of Carmen by Dreda Aves, the young artist pupil of Enrica Clay Dillon. It is rare that a debutante receives such consideration from the critics. The comments follow:
Dreda Aves was undoubtedly the finest Suzuki that has been heard in Toronto in many seasons. The nobility and beauty of her tones as they blended in the flower duet will not soon be forgotten. ... It is quite certain that we shall hear more of Dreda Aves in the future. She is American born, though seemingly of French or Spanish extraction, and her unique promise and present excellence were amply proved by her impersonation of the capricious gypsy girl in Carmen. One reason that this opera is less frequently given than its popularity warrants is that really good Carmens are so scarce. There are half a dozen singers who can give fine performances of Butterfly, for one who can really handle the role of Merimee’s gypsy siren. Miss Ave’s performance on September 6 was one of the bravest I have seen, since she sprained her ankle early in the first act, and carried on in what must have been excruciating pain. Her acting will doubtless mellow with a season or so of experience but even now it is full of diablerie and vitality. She was never crude and the tragic effect of her countenance in the scene with the cards and in the death scene was very poignant. Vocally she is all that can be desired for this part. Her tones have a round, rich, emotional quality, exceedingly rare, and her ;voice production was admirable.—Saturday Night, Toronto, September 16,
Though Dreda Aves as Carmen did sing sharp a few times, probably through nervousness over the auditorium, she presents a fine, pulsating Carmen; vocally not quite up to some we have heard, but in acting she seemed to be in tne spirit of the role. Unfortunately she strained an ankle through a fall on the stage which rather subdued her movements in the final scene with Don Jose. She did most of the songs splendidly.—The Toronto Daily Star, September 7, 1922.
Sixth Biltmore Musicale
The sixth of the Biltmore Friday Morning Musicales will take place on January 19. On this occasion Lucrezia Bori, soprano ; Hans Kindler, cellist, and Paul Ryman, tenor, will be the participating artists.
The two remaining musicales of the season will be given on February 2 and February 16. The artists for these will be announced later.
Women’s Orchestra to Play in Atlantic City
The Women’s Symphony Orchestra of Philadelphia, J. W. F. Leman, conductor, will give a concert in Atlantic City at the Globe Theater on January 27. Following a meeting of Mayor Bader’s committee and their decision to
Palace Studio Photo, Atlantic City
J. W. F. LEMAN
have a musical event of unusual interest some time during January, the Women’s Orchestra has been chosen. Owing to the popularity of Mr. Leman, who a few years ago conducted concerts in Atlantic City for several years, it is expected that he and his unique attraction will arouse unusual interest on the part of music patrons of that resort.
John Barclay’s Recent Successes
John Barclay has returned to New York after a tour on which he scored many notable successes. Appended are some of the notices which followed his appearances, beginning with his performance in The Messiah at Chicago:
Mr. Barclay performed some astonishingly brilliant vocal evolu-tions during the Why Do the Nations air, astonishing in themselves and good singing in addition.—Edward Moore, Chicago Tribune.
John Barcley, baritone, showed that his voice has warmth and a ringing timbre and that he knows the oratorio traditions.—Maurice Rosenfeld, Chicago Daily News.
Who was he? Was he truly a great singer? He is a newcomer in this country and so his reputation has not had time to spread everywhere. The audience which filled Coe college chapel greeted the artist courteously and reservedly. But it was only a short time until everyone realized that John Barclay is a very unusual singer, one who is able to captivate your closest attention from start to finish. Then the audience could hardly get enough. A remarkable personality prepares the way for him before he has sung a word. —Prof. Max Daehler, Cedar Rapids Evening Gazette.
John Barclay has a real man’s voice, and a temperament that soars many degrees beyond its compass. This is as welcome as it is unusual.—Toronto Evening Telegram.
Mr. Barclay sang with enthusiasm, tonal richness and a true regard for the delineation and significance of the texts.—Manitoba Free Press.
To hear a singer so enthralling that at times you become quite oblivious to his splendid technical powers; to listen, at others, to the supple ease with which that technical skill functions; to meet a performer whose musical culture allows him to delve successfully into the byways as well as the highways of song literature; to realize that in all he does is a definite coloring of vital personality —to acutely sense the presence of these phases of an artist is to be experienced from a recital by John Barclay.—Winnipeg Evening Tribune.
Josef Stopak in New York Concert
Josef Stopak, the well known violinist, appeared in concert on January 13 at the Hotel Commodore, New York, as soloist for the New York Police Square Club, the Masonic organization of the force. On a semi-popular program he played the Rimsky-Korsakoff Chant Hindu, Valse Triste (Vecsey) and the Variations on a Corelli Theme by Tartini-Kreisler.
Anna Pinto in Wagner Program
A Wagner program, played on the harp, will be a novelty indeed, and this is promised by Anna Pinto, at Aeolian Hall, New York, March 10. Anna Lodado, soprano, and Pasquale Romano, baritone, will assist. Miss Pinto was special soloist at Summerfield M. E. Church, F. W. Ries-berg, organist, on Sunday evening, January 14, playing some of the foregoing pieces.
Frank Cuthbert for Halifax Festival
Frank Cuthbert, baritone, has been engaged for the Halifax (Nova Scotia) Music Festival on April 9, 10 and 11. The artist will sing the baritone roles in Saint-Saëns’ Samson and Delilah in concert form, the Verdi Requiem, and on the last night of the festival a miscellaneous concert program.
An Extra New York Recital for Werrenrath
Reinald Werrenrath’s only Brooklyn recital of the 1922-23 season took place Monday, January 8, at the Academy of Music. The program consisted of four groups of songs and the Prologue from Pagliacci.
Since the papers announced that Mr. Werrenrath would
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