8
February 1, 1923
MUSICAL COURIER
Mr. Panizza’s conducting was adequate, if not up to the high standard of his chief.
L’Amore dei Tre Re.
Montemezzi’s musical setting of Benelli’s beautiful poem, L’Amore dei Tre Re, was heard Thursday evening with these singers: Fiora, Miss Garden; Archibaldo, Mr. Lazzari; Manfredo, Mr. Baklanoff; Avito, Mr. Crimi; Fla-minio, Mr. Oliviero; a youth, Mr. Mojica; a handmaiden, Miss Browne; a young girl, Miss Passmore; an old woman, Miss Claessens; a voice, Miss Correnti. Mr. Polacco conducted.
Miss Garden was vocally and dramatically superb as Fiora, a role which gives her ample scope for the imaginative and poetic qualities that are the vital elements of her art. Moreover, she sang better than she has in years and won a deservedly fine success. The tonal beauty and vocal ease of Mr. Crimi’s singing were again enjoyed. Mr. Baklanoff’s portrayal was, as usual, an intelligent one, while Mr. Laz-zari made a generally impressive Archibald. The stage settings were effective and the chorus in the last act admirable. Mr. Polacco’s conducting revealed the beauty and eloquence of the score and contributed to a generally stirring performance. The audience was keenly appreciative.
Die Walküre.
Friday brought the first Wagnerian performance of the week, Die Walküre, with this cast: Wotan, Georges Baklanoff; Fricka, Marie Claessens; Hunding, Edouard Cotreuil; Sieglinde, Grace Holst; Siegmund, Forrest Lamont; Brünnhilde, Cyrena Van Gordon; Helmwige, Melvena Passmore; Gerhilde, Irene Pavloska; Ortlinde, Hazel Eden; Waltraute, Marie Claessens; Siegrune, Ruth Lewis; Rossweise, Kathryn Browne; Grimgerde, Esther Walker; Schwertleite, Alice d’Hermanoy. The conductor was Mr. Polacco.
Not in many years has Boston witnessed so eloquent a performance of Wagnerian music-drama. How thin and anaemic are the old Italian operas next to the vitality, the poignant emotional intensity and the splendor of Wagner! The scenic settings were imaginatively designed and romantically ruggedly picturesque.
The participants at Friday’s performance sang, acted, and looked their characters. Cyrena Van Gordon definitely established her right to be classed with the great operatic singers of the day. Her Brunnhilde will long be remembered here through the beauty and nobility of her appearance and bearing, and by the excellence of her singing. Mr. Lamont gave a splendid impersonation of Siegmund, now. heroic, now tender, and always effective musically. Miss Holst appeared here for the first time, and made a favorable impression. She has a dramatic voice which she uses skilfully and proved that she was familiar with the traditions of Sieglinde. Mr. Baklanoff’s vocal and dramatic resources were tested to the utmost as Wotan and he met them in masterful fashion. The scene of the ride and the thrilling music at the opening of the third act were excellently managed, the effect being quite overwhelming and unforgettable. Mr. Cotreuil as Hunding, Mme. Claessens as Fricka, and the Walküre contributed significantly to the excellence of the performance. Mr._ Polacco gave an eloquent reading of the score. The audience was tremendously enthusiastic, recalling the principal singers and Mr. Polacco ten times after the second act, adding an ovation for the conductor when he took his place for the next act.
BoheSie.
Saturday afternoon La Boheme was heard with the following cast: Mimi, Edith Mason; Rodolfo, Angelo Minghetti; Marcello, Giacomo Rimini; Colline, Edouard Cotreuil: Schaunard, Desire Defrere; Musetta, Irene Pavloska; Alcin-doro, Vittorio Trevisan; Benoit, Vittorio Trevisan; Papig-nol, Lodovico Oliviero. The opera was conducted by Ettore Panizza.
It was good to hear Miss Mason here after a lapse of some years, and her beautiful voice instantly won the admiration of the capacity audience which attended the performance. Although it must be admitted that she does not appear tubercular, she gave an intelligent portrayal of the hapless Mimi. _ Mr. Minghetti, who was heard here for the first time, disclosed an agreeable tenor voice of lyric quality and was warmly applauded after his rendition of the familiar Che Gelida Manina. Miss Pavloska was a rather tempestuous Musetta. Mr. Rimini sang and acted his part with skill and authority._ The other parts were well taken and the chorus was effective. The costuming and setting in the second act were colorful. A very large audience applauded the principals vigorously.
Il Trovatore.
On Saturday evening II Trovatore was given with the following cast: Leonora, Rosa Raisa; Inez, Hazel Eden; Count Di Luna, Cesare Formichi; Manrico, Giulio Crimi; Azucena, Louise Homer; Ferrando, Virgilio Lazzari; Ruiz, Jose Mojica; an old gypsy, Sallustio Civai. Mr. Polacco conducted.
Fully recovered from the cold which had made her other scheduled appearances impossible, Mme. Raisa sang the difficult role of Leonora with the beauty and range of voice and the characterizing power which have established her among the foremost singing actresses of the day. She scored a very great personal success, being recalled again and again. Mr. Crimi made an excellent Manrico, singing and acting the part in a manner which stirred the admiration of his hearers. The return of Mme. Homer in the role of Azucena was her_ first operatic appearance locally in many years. She received a decidedly friendly greeting and gave pleasure as of old with her rich, full voice and her skill as a singer. The chorus took advantage of its opportunities in the prison scene. The production was admirably staged and Mr. Polacco conducted with the finesse and authority that has marked his work from the beginning.	Jack Coles.
German Opera Company Here
About half the members of the German Opera Company arrived here January 27 from Bremen on board the S S President Roosevelt, and left the next day for Baltimore, where the season was scheduled to open last evening (Wednesday, January 31). Leo Blech, the musical director was with the company. The schedule calls for the balance of this Week at Baltimore, the entire coming week at Philadelphia, and three weeks at the Manhattan Opera House this city, beginning on February 12 with Die Meistersinger’ to be followed by a tour.
remarkable performances of Santuzza and Nedda. The other parts were taken as follows:. Turiddu, Forrest Lamont; Lucia, Anna Correnti; Alfio, Desire Defrere; Lola, Irene Pavloska. In Pagliacci Canio was sung by Charles Marshall, Tonio by Giacomo Rimini, Beppo' by Lodovico Oliviero, and Silvio by Desire Defrere. Pietro Cimini conducted both operas. Mme. Muzio’s Santuzza was a vivid characterization, while her Nedda has not been surpassed here in recent years. An arresting figure in both operas, she also sang both roles beautifully, winning tremendous applause from her listeners. Mr. Lamont gave a carefully studied interpretation of Turiddu and sang the part well. Charles Marshall as Canio did not quite reach the heights that he attained in Aida, although his performance was excellent in many respects. Mr. Rimini’s Tonio was fine, both vocally and dramatically. Mr. Cimini conducted acceptably.
Rigoletto.
In the evening Rigoletto was given with the following cast: Duke, Tito Schipa; Rigoletto, Cesare Formichi; Gilda, Florence Macbeth; Sparafucile, Virgilio Lazzari; Madda-lena, Irene Pavloska; Count Monterone, William Beck; Giovanna, Anna Correnti; Count Ceprano, Milo Luka; Countess Ceprano, Kathryn Browne; Marulio, Sallustio Civai; Borsa, Lodovico Oliviero. The conductor was Ettore Panizza. Miss Macbeth’s Gilda was musically very satisfying. Hers is a clear flexible voice and she uses it with uncommon skill. Mr. Schipa impressed anew with the beauty of his voice, the finesse of his singing and the polish of his acting. He is a great artist and it is to be regretted that this was his sole appearance during the visit of the Chicago company to Boston. Mr. Formichi’s resonant baritone again won favor while his acting. was on a par with his vocal abilities. Mr. Lazzari is generally a creditable performer.
OPERA IN BOSTON
(Continued from page S)
Garden in the title role. The other parts were taken as follows: Mario Cavaradossi, Giulo Crimi; Scarpia, Georges Baklanoff, Cesare Angelotti, Desire Defrere; the Sacristan, Vittorio Trevisan; Spoletta, Lodovico Oliviero; Scarrone, Sallustio Civai; a shepherd, Kathryn Browne; a jailer, Milo Luka. Ettore Panizzo was the conductor.
A breathless world had once been told by the ubiquitous press agent that Miss Garden was original if nothing else and, since Boston had heard of Mme. Jeritza’s vivid characterization of Sardou’s heroine, speculation was rife as to the manner in which the former directress of the Chicago forces would carry on during the second act. She began the tuneful strains of Vissi d’Arte prone on the floor, gradually wiggled to her knees and, notwithstanding the restrictions of a close-fitting costume, she struggled in this position from Scarpia’s chaise longue to his table and back, to the audible delight of the audience. Be all that as it may, Miss Garden was in unusually fine voice and gave a highly entertaining performance. Mr. Crimi as the luckless Cavaradossi was in splendid voice and gave an intelligent, wholly adequate characterization of the role. He received an ovation after his popular air in the closing act. Mr. Baklanoff’s Scarpia is not as sinister as Scotti’s or as exotic as Marcoux’s; but he sang his part extremely well and was cordially received by his old admirers.
Double Bill.
Wednesday afternoon brought the familiar double bill— Cavalleria Rusticana and Pagliacci. Mme. Muzio, now fully rested and at her best, appeared in both operas, giving truly
KATHRYN
MEISLE
Contralto
Soloist with the Detroit Symphony Orchestra, January 14, 1923
A Fine Singer Re-Discovered
Kathryn Meiste Appears With Orchestra
strangely causes frowns and some bitter talk of a faux pas. In the “Les Filles de Cadix,” by Delibes, Miss Meisle could not restrain a toss of the head, a raised shoulder and a mischievous sidelong glance. Those particular girls were like that on a festival day in Cadix. The music of Delibes tells us they were a little vain, and attractive too, so cleverly does he relate tone to word.
Miss Meisle’s voice is of that rare and fortunate quality known as a natural contralto. She is small in stature but big in voice; it is robust and of the sort always described as warm. In fact, HER LOWEST TONES GLOW, AND HER HIGHEST ARE TAKEN WITH EASE where acquired contraltos exit screeching. Miss Meisle, equipped with music of studious import, would adorn any program.—Detroit News, January 15, 1923. ,
By ROBERT KELLY
ing is, the Sunday group of faithful listeners was delighted to welcome a singer advanced as a youthful leader in her art and to discover, when she had sung, that she has not been over-described.
Miss Meisle sang only twice, nothing very heavy, nothing very light. She was heard first in the Spring Song which is sung by Delilah to Samson in the first act of the opera by Saint-Saëns. The aria sighs with love-lorn emotions, thrilling to the ecstasy of spring, sobbing with disappointment and ending with the calm serenity of confident hope. All of these things Miss Meisle found in the music, as a careful musician would, and these she expressed, as a sensitive interpreter might be expected to do, broadly sometimes and subtle often. This she accomplished without gesture and the facilitating by-play of facial expression which, encountered on our concert stages,
On hearing Kathryn Meisle sing yesterday afternoon the devoted attendant at affairs of the Detroit Symphony Orchestra must have thought of her as mis-cast. It was as though Julia Marlowe had been withdrawn from the dramas of Shakespeare and flippantly starred in “The Chocolate Soldier.” IF THE NICHTS DEVOTED TO SUBSCRIPTION CONCERTS BY THE ORCHESTRA ARE OF MOST IMPORTANCE, AS HAS BEEN MAINTAINED, THAT IS THE PLACE TO WHICH MISS MEISLE MIGHT GRACEFULLY HAVE BEEN ASSIGNED. Her ability would have been equal to the artistic gravity of the situation.
It may have been that the makers of programs, finding their subscription lists of concerts fully outfitted with soloists, discreetly shifted Miss Meisle to a popular event rather than lose her pleasant services. At any rate, as the say-
Kathryn Meisle, Contralto, Feature That Seldom Has Been Surpassed Here
She selected as her offering a Saint-Saëns number, the Spring song from the opera, “Samson and Delilah,” and a gay little Spanish song, “The Girls of Cadiz,” by Leo Delibes. Both songs were enthusiastically received by the audience. —Detroit Free Press, January 15, 1923.
By G. E. KREHBIEL
TERTAINING VOICES WHICH HAS BEEN HEARD IN DETROIT IN A LONG TIME. SHE HAS A DEEP, WELL-ROUNDED VOICE, RICH IN TONE, WITH AN EXCEP-TIONAL RANGE, and coloratura rarely found in the possession of a contralto.
Kathryn Meisle, sensational young contralto, and Solon Robinson, pianist, soloists at Sunday’s symphony “pop” concert, furnished a dual feature which has seldom been surpassed in Detroit musical circles.
Miss Meisle’s IS ONE OF THE MOST PLEASING AND EN-
EXCLUSIVE MANAGEMENT
CONCERT DIRECTION: M. H. HANSON, 437 Fifth Avenue,
New York City