11
MUSICAL COURIER
January 25, 1923
Success on the Continent of Europe
© Underwood & Underwood
EXCERPTS FROM
NEW YORK RECITALS
She has a voice of rare beauty.—H. E. Krehbiel, New York Tribune, January 25, 1922.
Miss van Emden used her fine lyric voice with much skill in interpretation.—New York Herald, January 25, 1922.
Harriet van Emden is a talented singer.—New York Evening Telegram, November 25, 1922.
It is a pleasant experience to listen to Harriet van Emden.— New York World, January 25, 1922.
Singing wisely within the limits of a fresh, light voice of “bright״ tone quality.—Richard Aldrich, New York Times, November 11, 1921.
She disclosed accomplishments, vocal and interpretative, far above the average.—IVtax Smith, New York American, November 11, 1921.
Her voice is of velvet timbre, flexible and evenly developed. —H. E. Krehbiel, New York Tribune, November 11, 1921.
A new lyric voice of charm and quality trained to unusually aristocratic style.—The Sun, November 11, 1921.
PRAGUE
Harriet van Emden was born under a favorable constellation. When, in the Maytime flower of her youth, she steps upon the platform, she has immediately won her audience—not only the masculine part of it, but—also the feminine portion— which means even more! But when she begins to sing, even those possible few who had not been previously attracted, feel themselves irresistibly charmed.—Prague Tageblatt, October 18, 1922.
VIENNA
She is a charming, pure soprano, of a clear timbre. Miss van Emden can depend upon the effects of beautifully sustained tones and upon an excellently functioning head register. ־—Korngold, Vienna Neuc Freie Press, October 12, 1922.
Harriet van Emden is a charming concert singer.—Wiener Mittag-Zeitnng, October 12, 1922.
THE HAGUE
We particularly admired the charm and warmth of her voice, as well as her remarkable technic in the Mozart songs. . . . After the intermission the artist captured her audience as by storm. She gave first six songs of Mendelssohn’s, which were sung with the greatest virtuosity.—The Hague Hct Vaderland, November 9, 1922.
ROTTERDAM
With joyful surprise we listened to the beautiful bel canto, which showed the excellent schooling she had enjoyed. We rejoiced also at the sweet melodiousness of this sunny, clear, full soprano voice.—Rotterdam Dagblad, November 14, 1922.
It is not at all unlikely that in Harriet van Emden we have a future world-famous personality. In the first place, she has the same kind of voice that Patti, Sembrich, Lucca, Arnoldson, Tetrazzini, and many other international nightingales had, to charm their way to success. . . . World-fame awaits the singer in the near future.—Rotterdamsche Nieuzvsblad, November 14, 1922.
Behold a singer for whose future we predict the very highest success! She came heralded by the most excellent criticisms from many countries, and we open-heartedly add that this time, by way of exception, these criticisms did not exaggerate. In not a single instance have they said a word too much about Harriet van Emden. On the contrary, seldom have we heard here an interpreter of songs whose art, no matter from which side it is viewed, is so irreproachable. The voice in itself presents to the ear the greatest and purest enjoyment, sweet, smooth, melodious and lightly coloratura in character. Such excellently controlled technic of breathing; such delicate bel canto; such even modulation covering the entire range— which is unusually large.—Rotterdam Maasbode-Avondblad, November 14, 1922.
The voice itself has strongly attractive qualities; it is soft as velvet and of a beautiful, clear timbre, full and melodious. —Rotterdam Nieuzve Conrant, November 14, 1922.
LEIPZIG
Excellent musicianship as well as nobility and purity of perception raise her singing high above that of a hundred other singers.—Leipzig Neue Zeitung, November 29, 1922.
It was a real pleasure to listen to Harriet van Emden’s excellently trained, evenly developed soprano voice.—Leipziger Tageblatt, November 29, 1922.
Unusual, almost perfect art of singing, purest taste and the most charming naturalness—this trinity of virtues immediately captured Harriet van Emden’s audience.—Leipzig Neueste Nachrichten, November 28, 1922.
Harriet van Emden achieved great success at her recital. As a matter of fact, it is a rare occasion that one meets with such a melodious, evenly developed, smooth, flexible soprano voice. Her silvery voice refreshes and rejoices like a spring morning.—Leipziger Abendpost, November 27, 1922.
She presented an excellent, well selected program, and an excellently developed voice.—Leipzig Volks-Zeitung, November 30, 1922.
SGHEVENINGEN
Her lyric soprano voice is beautifully even in development, and her diction and pronunciation leave little t-o be desired.— The Hague-Nieuwe Rotterdamsche Courant (Morning Edition), June 22, 1922.
With her beautifully, well cultivated voice she gave us two arias from Mozart’s “Figaro,” and Debussy’s “L’Enfant Prodigue,” much to the enjoyment of the public which welcomed her with warmth and honored h~r with flowers.—The Hague-De Nieuzve Courant (Evening Edition), June 22, 1922.
Voice, manner and interpretation deserve great praise.—The Hague-Haagsche Courant (Evening Edition), June 22, 1922.
Miss van Emden’s voice is beautifully rounded, melodious, rich and full, and Italian in character.—The Hague-Het Vaderland (Morning Edition), June 22, 1922.
She sang Debussy with a lyric voice, not over large, but warm in timbre and fully even in register; perfect in tone production and breath control; intelligent in diction, and last but not least, her French is excellent.—De Telegraaf, Amsterdam, June 22, 1922.
BERLIN
Not in a long time have we heard such correct legato singing, or such breath control. One would like to capture the crescendo and decrescendo passages, to show them to young singers, saying:	“See—that’s how you should do it—exactly
so.”—Siegmund Pisling, Berliner Börsen Zeitung, September 10, 1922.
A voice of large range, very evenly developed, and strongly musical. Undeniably a notable artist.—Tägliche Rundschau, (Berlin), September 8, 1922.
Thanks to charm and nobility of voice, and to a delivery showing good taste and musical feeling, the singer had a most friendly reception.—Berlin Lokal Anzeiger, September 20, 1922.
Furthermore, her delivery showed such sincere and vital musical feeling, that her hearers received the most refreshing impression.—Berlin Der Tag, September 14, 1922.
Her soprano voice is melodious and tender. To other v9cal advantages is added an unusual smoothness in legato singing. —Berlin Börsen Courier, September 12, 1922.
A well developed and well controlled soprano voice, of unusually gracious and noble timbre.—Berlin Allgemeine Musikzeitung, September 15, 1922.
I have no hesitation in calling her a great singer.—Berlin National Zeitung, September 19, 1922.
A notable singer.—Berlin Kreuz-Zcitung, September 12, 1922.
In Harriet van Emden a noteworthy new singer has appeared.—Berlin Tageblatt, September 20, 1922.
COPENHAGEN
A voice of utterly bewitching beauty—fresh, clear, pure, mellow, light, warm.—Nationaltidende, (Copenhagen), September 16, 1922.
Miss van Emden showed herself an enchanting artist. . . . The evening left with everyone the most delightful impression.— Kobenhavn, (Copenhagen), September 16, 1922.
Harriet van Emden is a charming artist, who may claim as her own a highly developed art of singing. The voice itself has a fine lustre and a bell-like clearness.—Berlingske Tidende, (Copenhagen), September 16, 1922.
BUDAPEST
. . . possesses artistic virtues that assure us of her rise to the foremost ranks of concert singers. The young artist controls her flexible, melodious soprano voice with an unusual knowledge of the art of singing.—Budapest Neue-Pester Journal, October 8, 1922.
After January 1, 1924, Miss Van Emden Will Be Available
for Concerts in America
MANAGEMENT:
DANIEL MAYER, 33 West 42nd Street, New York—For U. S. and Canada
Konzert-Direktion Wolff u. Sachs, Berlin (Germany) ) ^	r	^	. .
Dr. G. de Koos, Kurhaus, Scheveningen (Holland) \ For a״ Eur°pean Countr.es
STEINWAY PIANO