65
MUSICAL COURIER
February 1, 1923
Metropolitan Opera Company
Thursday, February 1
Boston Symphony Orchestra, evening...................Carnegie	Hall
Richard Hale, song recital, afternoon.................Aeolian	Hall
Lenox String Quartet, evening.........................Aeolian	Hall
Juan Manen, violin recital, afternoon....................Town	Hall
Friday, February 2
Philharmonic Society of New York, afternoon...........Carnegie Hall
La Forge-Berumen Noonday Musicale.....................Aeolian Hall
Sophie Sanina, piano recital, evening.................Aeolian Hall
Friday Morning Musicale ..................................Biltmore
Saturday, February 3
Boston Symphony Orchestra, afternoon.................Carnegie	Hall
Isa Kremer and others, evening.......................Carnegie	Hall
Ignaz Friedman, piano recital, afternoon..............Aeolian	Hall
Fujiwara, Hara and Takata, evening....................Aeolian	Hall
Olga Samaroff, piano recital, afternoon..................Town	Hall
Sunday, February 4
Josef Hofmann, piano recital, afternoon..............Carnegie	Hall
Symphony Society of New York, afternoon...............Aeolian	Hall
Isidor Achron, piano recital, afternoon..................Town	Hall
International Composers’ Guild, evening...............Klaw Theater
George Reimherr, song recital, evening............National Theater
City Symphony Orchestra, afternoon................Century Theater
Monday, February 5
Edwin Hughes, piano recital, evening..................Aeolian Hall
Mme. Charles Cahier, song recital, afternoon..........Town Hall
Tuesday, February 6
Philadelphia Orchestra, evening.......................Carnegie Hall
Meta Christensen, song recital, afternoon...........Aeolian Hall
Ernest Schelling, concertos with orchestra, afternoon.Town Hall
Wednesday, February 7
Philharmonic Society of New York, evening.............Carnegie Hall
Joseph Hollman, cello recital, afternoon..............Aeolian Hall
City Symphony Orchestra, afternoon....................Town Hall
American Music Guild, evening.........................Town Hall
eager and attentive with her display of a facile technic, rich tonal beauty and deep understanding of the musical content. Later Miss Hess played two numbers by Chopin.
Marie Tiffany sang an aria from L’Enfant Prodigue, Re-nato Zanelli an aria from The Barber of Seville; Raymonde Delaunois an aria from Louise, and Edward Johnson one from Romeo and Juliette. Flora Perini and Rafaelo Diaz gave a duet from Boris Godunoff. The final number was the Prison Scene from Faust, presented by Queena Mario and Messrs. Johnson and Didur.
The Metropolitan Opera House orchestra, under the direction of Wilfred Pelletier, played Lalo’s Le Roi d’Ys overture and Massenet’s Suite Alsacienne. Mr. Pelletier showed himself to be one of the best musicians in the house and a conductor of no mean ability. His accompaniment to the concerto was particularly good.
HURLBUT
MASTER-CLASSES SUMMER 1923
Seattle Spokane Lewiston
319 West 95th St. New York
Tel. Riverside 4650
GALLI-CURCI’S RETURN TO METROPOLITAN
FINDS HER AS POPULAR AN ARTIST AS EVER
Famous Diva Scores New Laurels in i uci;i ('osi Fan Tutte Produced “for the Critics”—Der Rosenkavalier, Rigoletto, Die Walküre and Mefistofele Repeated—Myra Hess Guest Soloist at Sunday Night Concert
ferred until another appearance. As it was, however, he frequently sang sharp, the voice itself appeared to possess both beauty and.strength and to be well used. His appearance, too—youthful and elegant—is in his favor. Mme. Galli-Curci sang the Gilda in her best form and aroused the same enthusiasm that had greeted her on her debut two evenings before. Reliable Giuseppe de Luca gave his familiar picture of the hump-backed jester. There is none better than he on the stage today. Rothier was Spara-fucile and Flora Perini sang Maddalena. Papi conducted.
Die Walkure, January 27 (Matinee).
On Saturday afternoon, Die Walkure had another repetition with Bodanzky at the conductor’s stand, the cast being the same as upon previous occasions with but one exception:	Delia Reinhardt appeared for the first time
with the company, being cast as Sieglinde. She made a good impression, possessing a voice of agreeable quality and singing well, although one got the idea that she will be heard to better advantage in a more strictly lyric role. The rest of the cast was familiar: Taucher as Siegmund; Bender, Hunding; Whitehill, Wotan;_ Margaret Mat-zenauer, Bruennhilde; Jeanne Gordon, Fricka, and the octet of Rough Riders, Marie Sundelius, Marie Tiffany, Laura Robertson, Myrtle Schaaf, Marion Telva, Henrietta Wakefield, Raymond Delaunois and Kathleen Howard. White-hill was in particularly good voice and the final scene between him and Matzenauer-Bruennhilde was truly moving. Bodanzky, conducting, had one of his slow afternoons. Good old Graene and the rest of the steeds just loped along, instead of galloping.
.Mefistofele, January 27.
The Mefistofele of Boito, with Jose Mardones in the title role, brought forth an enthusiastic audience, capacity in size, for Saturday night’s opera. Mardones was in fine vocal trim and imparted zest to his portrayal of the Evil One in singing of a distinguished order and acting that was characterized by dramatic verve.
Gigli was the Faust, a role in which his voice is heard to advantage in its rarely beautiful tonal shadings and power. His acting in the final scene, when, as the old and feeble Faust, he is seen in his study, is worthy of commendation.
Alda again was a charming Margherita. Peralta also was excellent as Elena. Perini appeared both as Pantalis and Marta; Paltrinieri was Wagner and Audisio was Nereo. Moranzoni conducted, and the skill of Rosina Galli was evident in the ballet which she arranged. Elaborately staged, Mefistofele is a production that from many angles gains the favor of this season’s operagoers.
Sunday Night Concert, January 28.
In spite of inclement weather, the eleventh Sunday night concert of the season was heard by a well-filled house. The visiting attraction was Myra Hess, pianist, who gave Grieg’s piano concerto in A minor. Miss Hess held the audience
Der Rosenkavalier, January 22 Der Rosenkavalier was performed for the fourth time this season before a very large audience. Maria Jeritza, who earlier in the season won admiration for her portrayal of Octavian, scored another big success at this performance. Florence Easton, who was in fine voice, filled the role of Princess Werdenberg excellently, and shared honors with Mme. Jeritza. Paul Bender made much of his role of Baron Ochs of Lerchenau. Curtain calls for Jeritza and Easton, as well as for Mr. Bender, were numerous. Elizabeth Rethberg again sang the role of Sophie. The rest of the cast was practically the same as at previous performances this season. Artur Bodanzky conducted.
Lucia di Lammermoor, January 24 Mine. Galli-Curci came back for her second annual visit to the Metropolitan in one of the roles that first made her famous in this country, Lucia. It was a Galli-Curci night from start to finish. All the old enthusiasm was there. The prima-donna could not shake out a trill or toss off a simple roulade without evoking a burst of hand-clapping and at the end of each act there was recall after recall, though perhaps the Mad Scene aroused the loudest outburst of all. There is no need of going into detail about anything as familiar as Mme. Galli-Curci’s Lucia. It is a well known picture in this country now and she has changed it neither from the standpoint of singing nor acting, as stated above, the public seemed to like it even better than before. Mar-tinelli stood loyally by her as Edgardo, being perhaps even a thought too prodigal with the quantity of tone that he poured out the whole evening. Those two' pillars of the vocal art, Giuseppe de Luca and Jose Mardones, were respectively Ashton and Raimondo; while Grace Anthony sang neatly in the small role of Alisa. Papi conducted.
Cosi Fan Tutte, January 25 Mr. Gatti is said to have stated that he produced Cosi Fan Tutte for the critics. It is true that the Mozart comedy is not strong at the box office, but if Mr. Gatti is correctly reported, he has paid the critic a decided compliment since Cosi Fan Tutte is the one production which can be unreservedly praised from every standpoint. The ensemble, made up of Florence Easton, George Meader, Giuseppe de Luca, Frances Peralta, Adamo Didur and Lucrezia Bori, has no single weak spot; Artur Bodanzky conducts this work better than he does any other: and the getting is Urban’s finest. In other words, everything is of the very best, and the result was another ideal performance on Thursday evening,
Rigoletto, January 26.
The performance of Rigoletto on Friday evening was the occasion of the debut ״ with the company of a young Italian tenor, Giacomo Lauri-Volpi. It was whispered in the wings that the newcomer had been ill ever since his arrival ; that there was doubt about his ability to sing right up to the last moment, so judgment of him must be de-
IM
OLANOFF
Pupil of Leopold Auer, made successful debut at Aeolian Hall, New York, Dec. 4, 1922
S
“Sound musicianship.”—“Large, colorful toue.”—“Solid technic.”—“Style.”	^
—“Taste.”—“Sincerity.”— “Understanding.”— “Repose.”— “Excellent musical feeling.”—New York Press.
Second Recital, Thursday Evening, February 8, Aeolian Hall
Available for engagements—Pupils accepted.
“Excellent soloist and teacher.”—Leopold Auer.
Phone Bryant 8208
Representative: FRANKLIN FORD, 1457 Broadway, New York
MlLAN LUSK
Concert Violinisi
Maaacemeut: LUDMILA WETCHE	2M W, 99th St. N.Y
Mme. KATHERINE MORREALE
SOPRANO
Voice Culture—Repertolre 166 West 58th Street, New York City
William JULIBER
"Pianul and Instructor Address: 1981 Southern Blvd., New York City
Tel. Fordham 7862-W
JOHN HEIMEL
Concert Violinist and Pedagogue Studio: 151 Secoad Avenue (near 9th Street)
New York City	Telephone Dry Dock 4070
MME. CAROLINE
LOWE
VOCAL TEACHER AND COACH
Voice Development and Correction
Studio: 50 West 67th Street New York Tel.: Columbus 1405
OPPORTUNITIES
vacancies. Leases from $900 up. Studios for short time reservation having Steinway grand pianos at 125 East 37th Street, telephone Murray Hill 0991.
FOR RENT—STUDIO, part time. Beautiful, large, light room, four windows. (Reception room if desired.) Steinway Grand, unusual tone and quality. Ideal for Composer, Coaching or rehearsals. Very quiet. Service. Apartment 1 C, 131 Riverside Drive (corner 85th Street), New York. Telephone Schuyler 5676.
YOUNG WOMAN seeks position as organist or pianist, or any work giving opportunity in musical field. Understands organ and piano well. Address “E. H. P.,” care of Musical Courier, 437 Fifth Avenue, New York.
A Phonograph Recording Laboratory has added a new department to their activities and can offer to musical artists a personal phonograph record of their own work for a nominal charge. $35.00 will cover recording and one dozen records. For particulars address Personal Phonograph Record Dept., care of Electric Recording Laboratories, Inc., 210 Fifth Avenue, New York.
“B. S. M.,” care of Musical Courier, 437 Fifth Avenue, New York.
EXPERIENCED ARTIST—A well known soprano, active in the concert field and soloist at two prominent New York churches, would consider teaching in a private school in or near New York. Address “B. H.,” care of Musical .Courier, 437 Fifth Avenue, New York.
TO RENT—For musical students of refinement, beautifully furnished large and small rooms adjoining baths. 314 West Seventy-second Street, New York. Phone, Columbus 6941.
FOR SALE—Collection of five fine old violins, Gabrielli, Stainer, etc., the property of a well known European artist. Will make any appointment to suit. Address “S. G. G.,” care of Musical Courier, 437 Fifth Avenue, New York.
VANDERBILT STUDIOS of New York.
Proprietor, Mrs. Mabel Duble-Scheele; office, 41 West Ninth Street; telephone, Stuyvesant 1321. Houses in best central locations. Distinctive features of reliable service. Residence studios with private baths, steam heat, electric light, and fireplaces. Suitable for professional and business people of refinement. Club-like, business-like. Several large single studio
for this season is practically filled and the proposition offers exceptional advantages. The present owner desires to sell because of ill health. For particulars address “A. L. S.,” care of Musical Courier, 437 Fifth Avenue, New York.
LYON & HEALY HARP for sale, Style 21. Price, $600 cash. May be seen by appointment only. Telephone, Riverside 4122.
WANTED—Male teacher of voice in Middle West. Privately owned College of Music in its twenty-fourth year. Begin teaching now or September 5. State education, experience and salary. Address
Musicians placed this season at $2,500, $3,000, $4,000 salaries. Needed for coming year, teachers of Piano, Organ, Voice, Violin, Theoretical Branches. Address The Interstate Teachers’ Agency, Macheca Bldg., New Orleans, La.
WANTED—Bass for an English Lutheran Church in New York City; $25.00 monthly. Hearing Wednesdays, January 31 and February 7, 2 to 5 p. m. Apply to “F. W, R.,” care of Musical Courier, 437 Fifth Avenue (cor. 39th St.), New York.
CONSERVATORY FOR SALE—There is an opportunity to buy a large, flourishing Conservatory of Music in New York City that has been established for a number of years. The school is situated in one of the best parts of the city and occupies premises under a long lease at a very favorable rental. The registration
I want to meet a lady or gentleman of superior -ocial standing and broad acquaintance in the Metropolitan district, who is in no way affiliated with any vocal studio, but who could, (after a confidential exchange of credentials) help secure pupils for a teacher of singing who is a party of refinement, education and experience. Liberal remuneration.—Address: “N. H. D.,” care Musical Courier, 437 Fifth Avenue, New York.