NEW YORK, THURSDAY, February 8, 1923.
jV\V5ICAL@URIER
VOL. LXXXVÍ—No. 6. Whole No. 2235.
CHICAGO CIVIC OPERA BRINGS ITS
BOSTON SEASON TO BRILLIANT CLOSE
Capacity Audiences the Rule During the Second Week—Ethyl Hayden Pleases in Recital—Burgin Pupil Heard—Alda and Siloti in Fine Joint Concert—Chemet with Boston Symphony—Milhaud Makes Two Appearances
—Sylva Charms—Other News
and the same may be said of Mr. Minghetti. Miss Pavloska and Mr. Baklanoff sang their parts with full understanding of the nature of the opera and with sympathy. The fresh voice and vocal freedom of Miss d’Hermanoy made a favorable impression, her singing of the familiar Shepherd Leyl number being particularly enjoyable. Mme. Claessens and Mr. Defrere were amusing enough, although their antics were neither as spontaneous nor as laughable as were those of the Russians who were seen in these parts last winter. The large audience was tremendously enthusiastic throughout the performance.
Tosca.
In the evening, Puccini’s Tosca was given with Claudia Muzio in the title role. The other parts were taken as follows; Mario Cavaradossi, Mr. Crimi; Baron Scarpia, Mr. Formichi; Cesare Angelotti, Mr. Defrere; the sacristan, Mr. Trevisan; Spoletta, Mr. Oliviera; Sciarrons, Mr. Civai; a shepherd, Miss Browne; a jailor, Mr. Luka; conductor, Mr. Panizza. Mme. Muzio deepened the excellent impression which she made last week, giving a splendid performance, both vocally and histrionically. She is to be־ commended for not following the fashion of singing the Vissi d’Arte while sprawling on the floor. Miss Muzio was vigorously applauded for her effective portrayal. Mr. Crimi repeated the success which he had last week, singing and acting in a manner which, merits great praise. Mr. Formichi’s Scarpia is a more sinister impersonation than that of Mr. Baklanoff. Mr. Panizza conducted in spirited fashion. Die Walkure.
Wagner’s Die Walkure was repeated on Thursday evening with the same cast that had such remarkable success last week, as follows: Wotan, Mr. Baklanoff; Fricka, Mme. Claessens; Hunding, Mr. Cotreuil; Sieglinde, Miss Holst; Siegmund, Mr. La-mont; Briinnhilde, Mme. Van Gordon; conductor, Mr. Polacco.
Madame Butterfly.
Friday evening, Puccini’s Madame Butterfly was heard with this cast: Cho-Cho-San, Miss Mason; Suzuki, Miss Pavloska; B. F. Pinkerton, Mr. Crimi; Kate Pinkerton, Miss Browne; Sharpless, Mr. Rimini, Prince Yamadori, Mr. Mojica; the bonze, Mr. Beck; Goro, Mr. Oliviero; the imperial commissioner, Mr. Civai; the registrar, Mr. Derman; conductor, Mr. Polacco.
Miss Mason’s voice is admirably suited to the difficult measures of Madame Butterfly, and her singing was the most enjoyable that we have heard from her during the season. Mr. Crimi, apparently one of the stand-bys of the company, gave an adequate performance. His love song in the first act and his duet with Cho-Cho-San were superbly done. Mr. Rimini was an unusually fine Sharpless. Miss Pavloska acted Suzuki with great subtlety and convincing dramatic ability. Mr. Polac-co’s conducting brought out the full beauty of Puccini’s familiar score.
Carmen.
The opera Saturday afternoon was Bizet’s Carmen, with Mary Garden in the title role and the following cast; Don Jose, Mr. Crimi; Morales, Mr. Luka; Zuniga, Mr. Cotreuil; Frasquita, Miss Passmore; Mercedes, Miss Pavloska; Escamillo, Mr. Baklanoff; Micaela, Miss McCormic; Dancairo, Mr. Defrere; Remendado, Mr. Mojica; conductor, Mr. Polacco.
As is usually the case with Miss Garden’s appearances in Boston, the house was full and in holiday mood; indeed, it (Continued on page 49)
European Festivals This Summer
The list of music festivals planned for Europe this summer is still incomplete, and the disturbed political conditions may very well lead to changes in the present plans, but the schedule of the more important festivals as far as announced is as follows: Swiss Tonkunstlerfest, Geneva, April 7 and 8; Trier, April 15-20; German Tonkunstlerfest, Cassel, May 11-16; Zurich International Festival, June 8-29; Donaueschingen Chamber Music Festival, July 29-30; Annual Munich Opera Festival, August 1-September 30; Salzburg International Festival, August 8-14; Mozart Operatic Festival in Salzburg immediately after; Welsh Eisteddfod, August 6-12. All dates are subject to change.
Metropolitan Opera for Washington and Baltimore
The Musical Courier learns that the Metropolitan Opera Company is likely to give performances in Washington and Baltimore on returning from its annual visit to Atlanta next spring, that is, early in May. One week’s performances would be divided between the two cities, Baltimore taking four and Washington the balance. It is understood that the Baltimore) guarantee is practically arranged, but negotiations with Washington are still going on. The chances are this extra week will be given.
with telling effect. Mr. Panizza gave an admirable reading of the score. He is evidently a musician of exceptional abilities.
Sniegurotchka.
Rimsky-Korsakoff’s Sniegurotchka was the opera Wednesday afternoon with this cast: Sniegurotchka, Edith Mason; Shepherd Leyl Alice d’Hermanoy; Coupava, Irene Pavloska; Spring Fay, Cyrena Van Gordon; Tzar Berendey, Angelo Minghetti; Mizguir, Georges Baklanoff; King Frost, Edouard Cotreuil; Bobyl, Desire Defrere; Bobylika, Maria Claessens; Bermiata, William Beck; Carnival, Milo Luka;
Page, Hazel Eden; Spirit of the Woods, Lodovico Oliviero; first herald, Jose Mojica; second herald, Milo Luka; conductor, Richard Hageman.
The crowd that thronged to the opera house for Rimsky’s delightful fairy opera gave the committee cause to regret that they had not given this work twice, instead of Tosca or The Love of Three Kings. The performance strengthened the excellent impression made by Sniegurotchka when it was given in Boston by the Russian company last December. The rhythmic and melodic charm of Rimsky-Korsakoff’s music and the color of his masterful orchestration, the gorgeous settings and costumes designed by Roerich, and the highly imaginative and beautifully executed ballet arranged by Adolph Bolm, contributed to the success of the performance. Mr. Hageman gave the score an earnest reading, while the orchestra and chorus acquitted themselves creditably. Of the singers it might be said that they were miscast in several instances. Miss Mason, the Snowmaiden, has a lovely voice and used it skilfully,
Boston, February 4.—The Chicago Civic Opera Company closed its two weeks’ season in Boston yesterday in a manner which augurs well for a return engagement next year and in the years to come. It was the biggest day in the history of the Boston Opera House, as far as the box office was concerned. Two sold-out houses brought in close to $26,000 for the day, raising the total revenue for the fortnight to approximately $155,000. In view of this excellent response, it was the opinion of spokesmen for the managing committee that the deficit would probably be slightly under $30,000. That plans are already under way for next season was indicated by the inclusion of a slip in the program book soliciting subscriptions for a new guarantee fund. The guarantors and the managing committee, together with Louis Mudgett and Josephine Toye, merit the gratitude and congratulations of the public for the success of their undertaking.
Although the music-loving public of Boston and its populous suburbs had flocked in large numbers to the performances during the first week, it was apparent that sold-out performances were the exception rather than the rule, and it was clear that a good-sized deficit would result if this condition persisted. Presumably an appeal was made to local newspaper publishers, with the result that the reviewers of the press emphasized the importance of supporting the Chicago company if the season was to become an annual event, Philip Hale’s article being given a prominent position on the front page of the Boston Herald last Monday morning.
It takes the average Bostonian a little longer to wake up to his artistic blessings than one would expect in a city of such prestige as a cultural center; but when he does open his eyes he is apt to be very wide awake. Be that as it may, the appeal of the press for more vigorous support of grand opera had an immediate effect, the second and last week of the season being featured by crowded houses. The list of operas offered was a varied one, the repertory including only two repeats—L’Amore dei Tre Re and Die Walkure. The former work opened the week on Monday evening with another dramatic and altogether adequate performance of Monte-mezzi’s admirably conceived and beautifully written music for Benelli’s tragic drama.
Miss Garden gave another engrossing portrayal of the unfortunate Fiora, while Mr. Crimi as Avito, Mr. Baklanoff as Manfredo, and Mr. Lazzari as Archibaldo, repeated their splendid successes of last week. Mr. Polacco gave a fresh demonstration of his extraordinary abilities as a leader. The other parts were well taken as follows: Flaminio, Lodovico Oliviero; a'youth, Jose Mojica; a handmaiden, Kathryn Browne; a young girl, Melvena Pass-more ; an old woman, Maria Claessens; a voice, Anna Correnti.
Parsifal.
The opera Tuesday evening was Wagner’s Parsifal. The cast was as follows:
Amfortas, Mark Oster; Titurel, Jos. Le-gan; Gurnemanz, Edouard Cotreuil; Parsifal, Forrest Lamont; Klingsor, William Beck; Kundry, Cyrena Van Gordon; First Knight of the Grail, Jose Mojica; Second Knight of the Grail, Milo Luka; First Esquire, Hazel Eden; Second Esquire,
Kathryn Browne; Third Esquire, Louis Derman; Fourth Esquire, Lodovico Oliviero; flowermaidens, Melvena Passmore,
Alice d’Hermanoy, Elizabeth Kerr, Irene Pavloska, Hazel Eden, Kathryn Browne; conductor, Ettore Panizza.
It was the first performance in many years of Wagner’s religious opera. Earnest attempts were made to preserve the atmosphere of mysticism inherent in the work; musicians sounded the Grail theme in the corridors during intermissions, and leading singers did not appear before the curtain until after the close of the opera. The performance was an altogether impressive one. Cyrena Van Gordon as Kundry enhanced her reputation here as a singing-actress, giving a convincing and wholly effective portrayal of the role. Mr. Lamont was a satisfactory Parsifal, singing and acting in commendable style. Mark Oster sang the difficult role of Amfortas intelligently, with evident knowledge of its traditions. Edouard Cotreuil as Gurnemanz and William Beck as Klingsor were competent in their parts. The music of the flower-maidens was greatly enjoyed and their comeliness appreciated. The settings were adequate, the temple scene being truly_ beautiful. Forty members of the Cecilia Society of this city, trained by Agide Jacchia, assisted the opera chorus in three scenes
m Morse Photo	ASHLEY PETTIS,
g	pianist and composer, who has risen to his present position in the musical world
B	through hard work and innate artistry. His two New York (Aeolian Hall) and
B	one Boston appearances in 1922 firmly established this young “Poet of the Piano”
j¡	in the front ranks of the foremost pianists. His latest artistic triumph was the
m	performance of the rarely given Schumann piano quintet, op. JJ, with the London
g	String Quartet, at Plainfield, N. J., on February 6. On his recent tour of the
g	Southwest, Ashley Pettis icon praise from the press and genuine approbation from
m	his audiences.