January 25, 1923
MUSICAL COURIER
28
CURRENT MUSICAL PRIZES AND SCHOLARSHIPS
[The Musical Courier will endeavor to keep this department up to date and to that end requests that all notices and prospectuses of musical prize contests be sent to the Musical Courier so as to be included in this department. It will be found that in each contest the name and address are given, to which intending candidates may apply directly for further information. Manuscripts are submitted at the risk of the composer.—Editor’s Note.]
Zuro Grand Opera Company (Details of contest in Musical Courier for January 25)—$100, $75, $50 and $25 for the designs of settings for any one of the following operas: Aida, Carmen, Faust, Rigo-letto. Contest ends April 15. Opera Design Contest, Carona M'undi, Inc., 312 West Fifty-fourth street, New York.	...
American Academy in Rome (details in issue ׳ January 4)—Fellowship in Musical Composition open to unmarried men who are citizens of the United States. Applications will be received until March 1. Roscoe Guernsey, executive secretary, American Academy in Rome, 101 Park avenue, New York.
Institute of Musical Art (details in issue January 25)—Three free־ scholarships for the special course in interpretation, beginning February 12, under Carl Friedberg. Preliminary hearing at the Institute of Musical Art, 120 Claremont avenue, New York, on February 4 at 3:00 p. m.
CHICAGO OPERA
The Jewess, January 20 (Matinee).
At the last matinee of the present season, Rosa Raisa said au revoir to her Chicago public as Rachel in Halevy’s opera La Juive. As also announced elsewhere in this paper, Rosa Raisa was the first singer re-engaged by the Chicago Opera by President Insull. Charles Marshall repeated his big success as Eleazar and the balance of the cast performed well under the efficient baton of Panizza.
Carmen, January 20 (Evening).
The 1922-23 Chicago Civic Opera season came to a happy close with a fine performance of Carmen, with Mary Garden in the title role and the cast including also Giulio Crimi as Don Jose, a role in which he has won wide recognition in this city; Mary McCormic, as Micaela; Georges Bak-lanoff, as Escamilio, and Polacco conducting.
May the company be as successful in the East as it has been here is the wish of this reporter! Rene Devries.
Isa Kremer’s Fifth Recital
Isa Kremer will make her fifth appearance for the season at Carnegie Hall on Saturday evening, February 3.
MARY McCORMIC, CHARLES MARSHALL AND EDOUARD COTREUIL
as Snow Bird, the Hermit and a Tartar Chieftain, respectively, in Snow Bird, the new one-act opera in English, the libretto and score of which are by Theodore Stearns, and which was produced by the Chicago Civic Opera Company, January 13, 1923.
the festivities. Hageman conducted. Raisa and Marshall triumphed in the succeeding act, which was that of the Nile scene of Aida, in which, besides those two stars, were heard Formichi as Amonasro, Maria Claessens as Amneris, and Edouard Cotreuil as Ramfis. Panizza conducted. The third act was made up of the second scene of L’Amore dei Tre Re, with Mary Garden in her famous portrayal of Fiora. The star was ably seconded by Giulio Crimi and Baklanoff. Polacco conducted.
After this act President Insull made a speech, which, in part will be found in another part of this issue. The prison scene of Mefistofele was the next offering, which brought forth Edith Mason as Margaret. For partners she had Minghetti as Faust, and Steschenko as Mefistofele. Cimini conducted. The last act of Die Walkiire with the popular Cyrena Van Gordon as Briinnhilde and Georges Baklanoff as Wotan and Polacco at the conductor’s desk, concluded a very enjoyable, if too long, entertainment.
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admirers were on hand to give her a fitting appreciation of her work by applauding her vociferously whenever an opportunity presented itself. Galli-Curci will come back next season to Chicago with the Opera and will remain with the company as long as she desires. She is a big magnet and had Chicagoans at her feet this season as ever before. Tito Schipa sang beautifully the role of Germont; likewise, Rimini, that of the father.
Snow Maiden, January 14 (Matinee).
On Sunday afternoon the Snow Maiden had its sixth hearing of the season, proving the most popular novelty ever presented by the Chicago Opera. The same cast heard at all the previous performances was found at its very best and Hageman conducted with verve and precision.
Carmen, January 15.
The last week of the season brought sold-out houses for every performance, beginning with that of Carmen on Monday with Garden in . the title role, Crimi doing exceptionally excellent work as Don Jose (some of his best this season), Baklanoff again as the Toreador, and Mary McCormic as Micaela. To complete the array of artists, Giorgio Polacco was at the conductor’s desk.
La Forza del Destino, January 16.
The second and last performance of La Forza del Destino given with the same cast heard previously was a vast improvement, as all the singers were at their very best, and again Raisa scored a huge success as Donna Leonora, one of the best roles in her extensive repertory. Giulio Crimi, who appeared the night before as Jose in Carmen, showed no signs of fatigue, and, on the contrary, sang even with greater beauty of tone than on first acquaintance in the part of Don Alvaro. Rimini was a well voiced and well dressed Don Carlo. Panizza conducted.
Martha, January 17.
On second hearing this season Martha impressed even more favorably, as the artists, orchestra and chorus were in fine unison and the performance moved smoothly under the able guidance of Conductor Hageman.
Tosca, January 18.
Mary Garden, Giulio Crimi, Georges Baklanoff and Vittorio Trevisan were again the stars in Tosca and had the splendid assistance of Maestro Panizza, who conducted.
Gala Night, January 19.
The guarantors of the Chicago Civic Opera Company were the guests at a gala performance that enlisted the services of nearly all the stars and other singers of the company, while the four conductors performed. The performance was listened to by one of the most distinguished audiences of the season and the guarantors filled the Auditorium from pit to dome. The first act of Pagliacci, with Giacomo Rimini appearing as Tonio, Mary McCormic as Nedda and Forrest Lamont as Canio, opened auspiciously