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MUSICAL COURIER
February 1, 1923
Florence
TRUMBULL
LONDON
VIENNA
A M E R I
c
A N
Praised by the critics of PARIS BERLIN
Few women know how to display such manifold intensities offeeiinz.—Le Menestral, Paris.
For Engagements Address MANAGEMENT FLORENCE TRUMBULL 430 Orchestra Building, Chicago
by Manual de Falla was delightful; and the Russian coloratura singer, Nezdanowi. Besides these there were Herman Jadlowker, tenor, of Berlin, who had a big success, and of the local talent, Mines. Karol Szymanowski, Leski and Argasinski, have given a number of recitals devoted to modern music.
Numbered among other artists of prominence who have graced our concert halls and who have done their share in bringing the season to its zenith are Arnold Foldesy and Jean Gerardy, celebrated cellists; our own great Ignaz Friedman, Alfred Hoehn, and Jurczynski, pianists. Friedman’s success was, as always, enormous.	S. Loraj.
First Berlin Music Festival in August
Berlin, December 30.—The first Music and Stage Festival to be held in Berlin next autumn is to have an international character. Toscanini is said to have consented to conduct a series of performances, and Eugene Goossens, of London, has also been asked to do so. A number of Italian singers are to take part, besides the leading members of the Stattsoper and other German theaters. There will also be a number of concerts, and the Rosé Quartet will contribute a series of chamber music evenings.	C. S.
AMERICAN ACADEMY of DRAMATIC ARTS, Founded 1884
ous predecessors are closely bound up with theatrical traditions in Denmark. They are, however, in every particular up to the mark, so that Drot og Marsk, thanks to their collaboration, is one of the best box office attractions in the repertory. Also Tenna Frederiksen as Lady Ingeborg, whose splendid voice would adorn any of the world’s opera houses, ought to be mentioned with every possible acknowledgment.
May be Performed Abroad.
Drot og Marsk has hitherto suffered under the disadvantage of having been created in a small country whose language is only spoken by a few millions of people, and which never had the power to beat the big drum for itself. But it is as viable as on its first day, and eventually will, in spite of all hindrances, obtain the place it is entitled to among the classic operas of the world. Just now there is every sign that it will appear on one of the leading stages of Germany. Anyone who knows and loves it for its healthy, splendid music and its grand poetic words, will hope that it may also find its way across the ocean.
Fritz Crome.
WARSAW HAS BUSIEST
SEASON WITHIN MEMORY
THE ROME CONCERT SEASON STARTS WITH VERDI REQUIEM
POUL WIEDEMANN, AS THE KING, AND ALBERT HOEBERG, AS THE MARSHAL
in the murder scene.
Magnificent Performance Under Molinari—César Franck Memorial Concert Gets Official Patronage—Flesch, Casella and May Mukle Play
Rome, December 20.—In my last letter I discussed the prospective performances and the preparations that were being made for the coming season. Now the season is in full swing' and we are hearing a mass of concerts, presumably like every other important European city. The most important of these, of course, are those at the Augusteo, with Molinari as the power behind the baton. The opening performance, on December 8—a holiday—was a memorable one not only for the remarkable performance of Verdi’s Requiem, but also for the frigid weather Rome was having at the time, the unheard-of temperature of three or four degrees below zero being registered. However, this weather did not in any way freeze the enthusiasm of the holiday crowd, as the Augusteum was packed to the doors. With a chorus of 250 and a sterling quartet of soloists (Mme. Mazzoleni, soprano; Mme. Minghini, alto; Bonci, tenor, and De Angelio, bass) Molinari guided the ensemble to such a brilliant result that he received a great ovation at the end, being called to the front of the stage time after time. Verdi’s music was revealed in all its expressiveness. With such performances, it can never grow old.
Next in importance was a César Franck memorial concert under the patronage of the French and Belgian embassies and the ministers of public instruction and fine arts. The
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Pan Twardowski Has Hundredth Performance—Rosenkava-lier in Polish—Many Guest Conductors
Warsaw, December 21—The busiest music season that I ever experienced in Warsaw has now about reached its zenith. As in other European music centers, activity is not only confined to the native artists, but also ^ depends largely on foreigners, or, to be more exact, artists now active in other lands, including far away America, Spain,
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ELIZABETH QUA1LE
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Direction:
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MURA
Maestro Aldo Francbetti at the Piano
K
Mme. MAUD LA CHARME
Coloratura Soprano
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Hungary, Belgium, Switzerland, etc.
The most interesting event of the season so far^was the one hundredth performance of Ludomir Rozyckts ballet Pan Twardowski, which received a triumphal ovation such as has never before been seen in Warsaw. The reason why this work is so beloved by one and all is simply because it is a genuine manifestation of Polish folk art. The incomparable grace of the prima ballerina, Irena Szmolz, also the magnificent decorations by Wincenty Drabik, the merry pranks of Piotr Zajlich as the Devil, as well as the music with its humor seemingly extracted from the very soul of the people—to all of these coordinated in a highly satisfactory work of art, is due this unprecedented success.
Rosenkavalier in Polish.
The première of Strauss’ Rosenkavalier in the Polish language has just taken place. This event, which was greeted with numerous articles in the press, was awaited with breathless interest. Conductor Rodzienski directed the performance, and his achievement, like that of the stage-director, Henryk Kawalski, was superlative. The decorations created by Drabik were equal to any of the first-class stages in Europe. Some of the musical reviewers were of the opinion that the best part of the score was the waltz, especially the one by Oscar Strauss ! _ The humorous libretto on the other hand pleased both critics and public alike.
Petruchka Creates Strife.
Stravinsky’s well known׳ ballet, Petruchka, recently conducted here by Gregor Fitelberg, has been the means of causing strife " among the music critics. _ They have been divided into pros and cons, one side battling for the cause of new music, and the other, led by Professor Niewiadomski, fighting just as valiantly for the “safeguarding of national elements in Polish music.”
Judging from the number of guest conductors who are visiting us, our Philharmonic Orchestra seems to be earning a reputation for hospitality. We have already seen Oscar Fried, Volkmar Andreae, of Zürich, Schnedler-Peder-sen, of Copenhagen, and Gregor Fitelberg. Besides these conductors, a number of well known singers, including Adamo Didur, from the Metropolitan Opera; the incomparable mezzo-soprano, Mme. Lachowski, from the Royal Opera, in Madrid, whose rendition of real Spanish songs