MUSICAL COURIER
40
January 25, 1923
violen, Lachen und Weinen—and two movements from the piano quintet (Forellen quintet), op. 114. In both the opening and closing numbers the participants were students of the Institute, while the vocal numbers were rendered by J. Nora Fauchald, an honor graduatè of last year in the artists’ course. Dr. Frank Damrosch has been director of the Institute of Musical Art during the entire period of its existence.
Elsie Lyon Succeeds Mary Potter at Temple Emanu-El
Remembering Elsie Lyon’s very artistic and successful concert at the Town Hall earlier in the season, when the young contralto’s singing met with the unanimous approval of the critics, it is not surprising that she was recently chosen to succeed Mary Potter as contralto soloist at the Tempel Emanu-El. Miss Lyon is the possessor of a voice
ELSIE LYON
of splendid power and range, which she uses with intelligence and taste. When first she came to New York from her home in Ohio, the young singer met with many struggles, being handicapped greatly in her progress through a lack of money. She had grit, however, and devoted her efforts to teaching in order to make a living. Little by little, as she received opportunities to appear in public here, she made the most of them and made a deep impression with her beautiful voice and interpretative art. Not until this season was she able to give a New York recital, but when she did, it was not in vain. Her hard work and determination to get ahead had its desired results.
Aside from her concert work (she is now under the management of the Music League of America) and a limited amount of teaching in New York, Miss Lyon has a large class in Newark, Ohio. This class she is able to instruct practically every month or six weeks.
Idelle Patterson Gives Intimate Recital
On Sunday afternoon, January 21, Idelle Patterson was heard in one of a series of Intimate Recitals at the Patterson Studios, 326 West 76th street, in which she had the assistance of Lucile Orrell, cellist. There were many admirers on hand to hear this charming young artist, who is certainly’ worthy of the name. She has grown so vastly in her art since the writer first heard her some four or five years ago. Her coloratura work is a joy. It is fluent and agreeable to the ear, and she sings the most intricate passages with the utmost ease. Her voice, moreover, has a warmth and evenness that is not always apparent in coloratura voices, although she is really a lyric-coloratura soprano. In fine voice, Mme. Patterson rendered a well chosen program which delighted her hearers. She had the fine accompaniments of her husband, A. Russ Patterson.
Lucile Orrell is a cellist who gives much pleasure. Technically .well equipped, she is also an interpreter of charm. Herman Neuman was at the piano for Miss Orrell.
The program follows:
Deh vieni non tardar, Le Nozzi Di Figaro (Mozart), Fiocca la neve (Cimara), Cavatina and Rondo from La Sonnambula (Bellini), In Meiner Heimat (Trunk), Mans-fallen spruchlein (Wolf), O Komm im Traum (Liszt), Idelle Patterson; Nocturne (Chopin), Orientale (Cui), Spanish Dance (Popper), Lucile Orrell; Aux temps des Fees (Koechlin), Mandolines et Guitars (Grovlez), Priez-aimez-chantez (Gregh), Wings of Night (Wintter Watts), Come Unto These Yellow Sands (Frank La Forge). By the Fountain (Harriet Ware), The Catbird (J. W. Clokey), Idelle Patterson.
Regular Sunday Tea at Harcum School
At the regular Sunday afternoon tea at the Harcum School, Bryn Mawr, Pa., on January 3, songs were given by Sarah Horner of Mt. Pleasant, Pa., and Mary Elizabeth Broderick of Muncie, Ind., played the harp. Mrs. Harcum was heard in a Chopin group, modern French group, and, at the urgent request of the girls, the Erl Koenig.
Michael Anselmo’s Recital on Saturday
On Saturday evening, January 27, at Aeolian Hall, Michael Anselmo, violinist, will give his debut recital. An interesting program has been arranged, and Julius Schendel will preside at the piano.
Metropolitan Opera Company
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FUND PROFITS THROUGH BENEFIT PERFORMANCE
William Tell, Der Rosenkavalier and Romeo and Juliette Repeated with Success—Tristan and Isolde in Brooklyn— Madame Butterfly Again Delights—A Gala Operatic Concert on Sunday Night
Der Rosenkavalier, January 17.
Der Rosenkavalier had another performance at the Metropolitan on Wednesday evening, January 17. There were two. changes in the cast, Rafaelo Diaz sang very neatly indeed the little aria for tenor in the first act which usually falls to Orville Harrold; and a brown wig replaced the gray one that usually sits on the head of Florence Easton as the Princess. Mme. Sundelius was a clear-voiced Sophie, and Jeritza the same dashing young boy again as Octavian, while Bender held the whole thing together with a splendid performance of Baron Ochs, and Schutzendorf portrayed the comic Faninal. Mr. Bodanzky conducted; it was one of his rather slow nights and the waltzes in particular did not have the “Schneid” that belongs to them.
Romeo and Juliette, January 18.
Gounod’s Romeo et Juliette was repeated on Thursday evening with Lucrezia Bori, a beautiful and graceful heroine, and Gigli, the rich voiced Romeo. Both artists were in fine form and gave of their best—which is saying a great deal as they always attract much interest and delight their hearers. Hasselmans gave the score a fine reading, resulting altogether in a smooth and enjoyable performance. The cast was the same as upon previous occasions—Henrietta Wakefield as the Nurse, Rafaelo Diaz as Tybalt, Giuseppe De Luca as Mercutio, Didur as Capulet, Rothier as Friar Laurent, and D’Angelo as the Duke of Verona.
Madame Butterfly, January 19
Madame Butterfly resumed its rightful place on the regular repertory of the Metropolitan on January 19 and aroused the usual enthusiasm in a very large audience.
The work was given a sterling performance under the direction of Moranzoni. Florence Easton, one of the finest Cio-Cio-San, was at her best. Edward Johnson is an ideal Pinkerton, having the American manner, as few Pinkerton’s have, and the voice for the part. Scotti, great artist as he is, is not a United States consul but an Italian consul. Perini was a pleasing Suzuki and Cecil Arden an impressive Kate Pinkerton. Effective color was lent to the Japanese characters by the excellent impersonations of Angelo Bada, Pietro Audisio, Paolo Ananian, Quintana and Reschiglian.
Cavalleria Rusticana and Pagliacci, January 20 (Matinee).
On Saturday afternoon, the always popular double bill drew a capacity house (many being turned away) to hear Maria Jeritza as Santuzza, assisted by Mario Chamlee as Turiddu, Marion Telva as Lola, Millo Picco as Alfio and Maria Mattfeld as Lucia. Mme Jeritza was heard to better advantage in the part than previously. Although this one is considered her less successful role, she, nevertheless, gives much of interest histronically. Vocally she seemed to be better suited to the demands of the role than heretofore. After the big aria in the first half she received an ovation. Chamlee did some really beautiful singing and acted with fervor and dash. Telva sang well but seemed not vivacious or fascinating enough. Moranzoni gave a capital reading of the score, adding to the high standard of the performance.
Titta Ruffo, of course, scored a tremendous ovation after the prologue, and during the performance, both through his singing and acting, held the interest of the audience. Elizabeth Rethberg made a fine impression as Nedda. She possesses one of the best voices of the company and is indeed an addition. Edward Johnson as Canio handled the part skilfully and came in for his share of the honors. Papi conducted.
Sunday Night Concert, January 21.
The tenth Sunday night concert of the season maintained in every respect the high standard previously set by the Metropolitan chorus and orchestra. On this particular occasion the chorus even seemed to outshine itself. The program opened with the third act of Erminie and Conductor Bamboschek obtained many beautiful effects. The male chorus parts were superb. The soloists were Ponselle (Elvira), Danise (Don Carlos), Mardones (Don Ruy), Tokatyan (Ernani), Bada (Don Ricardo) and Reschiglian (Jago). The new tenor, Tokatyan, was not in the best of voice, but Ponselle, Danise and Mardones were splendid.
The Grail Scene from Parsifal was also capably presented, the chorus back stage, presumably under Giulio Setti’s direction, deserving a large share of credit for the fine performance. The audience showed its particular pleasure after this part. The soloists were William Gustafson (Titurel and Gurnemanz) and Gustav Schuetzendorf. The singing of the former was particularly delightful to listen to, his big, sonorous voice making his solo passages a treat.
The second half of the program opened with the Tschai-kowsky 1812 overture creditably done. Then followed the Prologue from Boito’s Mefistofele; in which Mardones gave a fine rendition of the Prologue. To end with there was the triumphal scene from Act II of Aida, in which the soloists were Ponselle, Danise, Gordon, Rothier, Harrold and D’Angelo. This was capitally given, the work of chorus and orchestra as well as soloists being par excellence.
Institute of Musical Art Concert
The Institute of Musical Art of the City of New York, Frank Damrosch director, celebrated its eighteenth anniversary on Tuesday evening, January 16, by giving a concert in the hall of the institute, 120 Clarmont avenue. The program was made up of compositions by Franz and Schubert, comprising the quartet for strings, op. 29, in A minor; four songs—An Die Musik, Die Forelle, Nacht-
Special Performance, January 15 (Matinee)
Following the annual custom, the benefit of the Metropolitan Opera Company’s Emergency Fund attracted a capacity house on Monday afternoon, January 15. The bill, a varied one—consisting of the fourth act, second scene, from 11 Trovatore, the first act of Carmen, the same act from La Traviata, and the second one from Tosca—offered many artists of merit and popularity.
In the Verdi opera, Frances Peralta was a rich voiced Leonora, Jeanne Gordon a fine Azucena, the parts of Man-rico and Count Luna being in the capable hands of Morgan Kingston and Millo Picco, and Papi conducted.
Florence Easton repeated her vivid and dashing concep-iton of the cigarette girl in Bizet’s excerpt, aided by the pleasing and always agreeable voice of Orville Harrold as Don Jose, and Queena Mario, whose Micaela has previously found favor. Hasselmans conducted.
Bori and Gigli were the principals in the second Verdi opera, singing the parts of Violetta and Alfredo with their accustomed finesse. De Luca as Germont was not far behind in his share of the audience’s favor. Moranzoni gave a fine reading of the score.
Maria Jeritza, Scotti and Chamlee were the attractions in the Tosca contribution to the program. Moranzoni again was at the conductor’s stand.
William Tell, January 15 (Evening).
On Monday evening William Tell was repeated before a responsive audience, chief honors going to Rosa Ponselle, who sang the role of Princess Mathilde beautifully. In admirable voice, the young dramatic soprano gave an especially fine account of herself and came in for a large share of the audience’s applause. Martinelli, although suffering from a bad cold, sang with an abandon that aroused the enthusiasm of the entire house.
Giuseppe Danise, in the title role, did some of the best singing of the evening. Always a reliable artist, Mr. Danise contributed to the artistry of the performance. Didur was, of course, at home in his part of the hard-hearted Gessler, while Bada handled the role of Rudolph, as did Jose Mardones that of Walter Furst, with skill. And one must not forget the splendid work of Marie Sundelius—that dependable artist; in appearance, Mme. Sundelius was ideally suited to the demands of Gemmy, son of William Tell, and she sang and acted equally well. Papi conducted.
The famous overture received the greatest applause of the evening and Papi called upon his orchestra• several times to acknowledge the applause—which was genuinely earned. The ballet, too, did not lack response.
Tristan and Isolde, January 16.
Tristan and Isolde, with all its erotic outpourings, provided the opera entertainment for Brooklyn on Tuesday night. Under the direction of Artur Bodanzky, the performance was an artistic triumph. He had the orchestra under complete control and dominated the music drama at all times. Margaret Matzenauer was Isolde. Her work is too well known for comment. She has a glorious voice and always impresses her auditors with the fact that she has complete artistic control. Jeanne Gordon as Brangaene was a compelling figure of youth and beauty, and her voice was all that could be desired.
The audience was largely interested in Curt Taucher, who made his first appearance in Brooklyn. He has a fine, ringing, powerful voice. While he is not a heroic figure, he gives evidence of being an experienced artist. Paul Bender looked every inch a king. His vocal work was more satisfactory than at his first appearance in Brooklyn in Der Rosenkavalier. Clarence Whitehill, as Kurvenal, gave a vigorous interpretation of Tristan’s first aide. The performance as a whole was a brilliant demonstration of what can be done with the Wagnerian music drama.
THE
LITTLE LILAC GARDEN
Music by H. O. Osgood Words by Gordon Johnstone
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