MUSICAL COURIER
48
February 8, 1923
Metropolitan Opera Company
TANNHÄUSER IS REVIVED AT THE METROPOLITAN
Jeritza, Matzenauer, Taucher and Whitehill in Leading Roles—Barber of Seville, Bohème, Emani, Traviata, Cavalleria Rusticana and Pagliacci Repeated—William Tell in Brooklyn—Erika Morini Guest Artist at Sunday Night Concert
portrayal of the role of Santuzza. Vocally she was superb and her acting, of course, held the eye all the time she was on the stage. Mario Chamlee was called upon at the last minute to sing in place of Armand Tokatyan, who was to have sung for the first time in an operatic performance at the Metropolitan, having previously only made his appearance at the Sunday night concerts. A heavy cold, unfortunately, prevented his singing. Chamlee was admirable in the part, singing and acting with telling effect. Perihi was the Lola, Millo Picco the Alfio, and Grace Anthony the Lucia. Moranzoni conducted with skill.
The interest of the Pagliacci performance centered in Antonio Scotti, who made his first appearance in some years in the role of Tonio, scoring a great success. He rendered the prologue in his own superb manner, and his singing and acting throughout the opera aroused appreciation. Nina Morgana was an attractive Nedda—both in appearance and voice:—and Edward Johnson again made a favorable impression as Canio, singing the “sob song” with great tonal beauty. Papi conducted.
Sunday Night Concert.
Erika Morini was the visiting artist of the February 4th concert, and she was the recipient of a, warm demonstration of approval after her playing of the Carmen fantasy (Sara-sate) which was an admirable vehicle for display of her many qualifications. She was also heard in a group of charming shorter pieces, "including the Tschaikowsky barcarolle, the Wieniawski valse caprice, and the Zarzycki mazurka.
Mary Mellish, soprano; Margaret Matzenauer, mezzo-soprano; Marion Telva, contralto, and Edward Johnson, tenor, all of the company, furnished the other part of the program, assisted by the orchestra, under the skilled guidance of Giuseppe Bamboschek.
Miss Telva gave a splendid rendition of Duparc’s L’ln-vitation au Voyage, which revealed the beauty and clarity of her voice. Equally as effective was Mary Mellish, whose singing of Depuis le jour from Charpentier’s Louise won her much applause. Edward Johnson selected an aria from Andrea Chenier for his contribution and with it scored a success.
Mme. Matzenauer was heard in two selections—the familiar Ah mon fils from Le Prophete (Meyerbeer) and Gerechter Gott from Rienzi (Wagner). In these her luscious voice was heard to particular advantage.	The
orchestra played the Dvorak New World symphony, two Hungarian Dances by Brahms, and The Bartered Bride, Smetana.
Augusta Cottlow to Give Chicago Recital
Augusta. Cottlow will be heard in her annual piano recital in Chicago on Thursday evening, February IS, at Kimball Hall. She is at present occupied with a Southern concert tour extending as far as Georgia. Shortly after her Chicago recital Miss Cottlow will appear with the Minnapolis Symphony Orchestra in Minneapolis, playing the Mac-Dowell second concerto. On this occasion it is interesting to mention that Glenn Dillard Gunn will direct the orchestra, thus offering a great American composition performed by an American artist and led by an American conductor.
Miss Cottlow’s recital program for February 15 will practically duplicate the one which she gave in New York on January 19 at Aeolian Hall. It will include the op. Ill sonata of Beethoven, two Chopin numbers (the etude in E minor, op. 25, No. 5, and'the ballade in F minor op. 52). MacDowell’s Norse Sonata is also included, and the final group embraces Birds at Dusk by Fannie Dillon, A Bird Song by Palmgren and the Mephisto Waltz of Liszt.
Miss Cottlow’s appearance in Chicago will be under the local management of Rachel B. Kinsolving.
Recital at Cleveland Institute
A brilliant recital of music for two pianos was given at the Cleveland Institute of Music on the evening of January 26 by Mrs. William Mason Bennett and Harold Richey, both of Oberlin Conservatory. They played a program comprising works by BaCh-Bauer, Guy Ropartz, Bonis, and Rachmaninoff and were obliged to give several encores. The recital was in return for that recently given at Oberlin by Hubert Linscott, baritone, of the Cleveland Institute
faculty.	----------
Bernardine Grattan at Hutcheson
Bernardine Grattan, coloratura soprano, who recently graduated from the studio of Buzzi-Peccia, sang recently at the Country Club, Hutcheson, Kan., with great success. The Hutcheson News says:
This is her first appearance in Hutcheson and she has a most beautiful voice. She sang The Land of the Sky-Blue Water, by Cadman, and II Baccio, by Arditi, with Mabel Black King at the piano. These were met with great applause and she graciously responded with two encores^—Little Town in the Old County Down, by Scott, and the old familiar Cornin’ Through the Rye.
gradual and slow return. There is no good reason for not restoring the Ring, Meistersinger, and even Rienzi and Flying Dutchman. Those works certainly are of more importance than some of the Italian exhumations undertaken at the Metropolitan of recent years, and even the question of new and expensive scenery required by the Wagner works does not alter the true aspect of the case. Money expended for serious art and for actively advancing the cause of music is money spent for a worth while purpose.
Tannhäuser proved quickly the other night that its appeal remains a strong one. It is pictorially attractive, its story engages the fancy, and its music is full of tune, potency, and upliftment. The elements of human passion and of devotion to a supernatural power constitute a favorite Wagner recipe and like no one else he knows how to fuse them into a drama of elemental power and tremendous truth, intertwined with a score that expresses itself eloquently and appropriately in the most lofty musical terms. It will be many, many years before Tannhäuser is in danger of losing its present great hold on the imagination ׳ and affections of serious opera lovers.
Aside from some undue draggings of tempo last Thursday by Conductor Bodanzky, the performance was thoroughly artistic and produced a deep impression. Curt Taucher was the Tannhäuser, and he put convincing earnestness into his impersonation: His figure, bearing, and acting had the necessary romantic illusion. In voice the tenor was not exactly melting at all times but at least he sang musi-callv and he had the true Wagnerian style.
Maria Jeritza, a perfect vision of loveliness as Elizabeth, achieved a superb rendering. She sounded every degree of tenderness and nobility which are inherent in the role. Her work was movingly sincere. Her tones had ring when required and melting beauty in the gentler episodes. She pleased the eye and wooed the ear continuously. It was an operatic portrait, musically and histrionically, to be long remembered by those who were privileged to be present. Those who were not, should neglect no chance to enjoy Jerjtza as Elizabeth.
Venus was sung by Margarete Matzenauer, and it is a part which she has made famous here as peculiarly her own. She looked beautiful and she filled her vocal measures with opulent tone and meaningful phrasing.
Clarence Whitehill’s Wolfram was a gem. His tonal continence, his soulful feeling, his remarkable diction, and his finely sensed and deeply felt delivery could not fail to •move his hearers profoundly.
Paul Bender was a sonorous Landgraf, George Meader did a well considered and effective Walker, and others who helped in the excellent production were Carl Schlegel, Max Bloch, William Gustafson, Raymonde Delaunois, Grace Anthony, Cecil Arden, Charlotte Ryan, and Grace Bradley.
Ernani, February 2.
The fourth performance of the season of this opera attracted a capacity house on February 2, and it, was, indeed, a fine hearing. Rosa Ponselle as Elvira and Giovanni Mar-tinelli as the bandit did some splendid singing and acting in their parts and aroused the audience to frequent applause during the evening. Coming in for his share of favor was Titta Ruffo, as the Spanish king. He is ideally suited to the part and sang with his accustomed beauty and compelling style. Others in the cast, who lent distinction, were Jose Mardones, Grace Anthony, Bada and Reschiglian. Papi conducted.
La Traviata, February 3 (Matinee).
Galli-Curci was the attraction in Verdi’s charming opera on Saturday afternoon. The famous diva was in excellent voice, delighting her listeners, as of old, with the beauty and skill of her singing. Her acting was also admirable and she gave much in her portrayal of Violetta to please. Another in the cast who made a favorable impression— the best so far in his appearances—was Lauri-Volpi who gave a splendid account of himself as Alfredo. His appearance is ideally suited to the demands of the part and he sang with a clarity and agreeableness of tone that aroused the enthusiasm of the audience. Giuseppe Danise, in his familiar characterization of Germont, added to the strength of the performance. Moranzoni directed skillfully.
Cavalleria Rusticana and Pagliacci, February 3 (Evening)
Saturday evening, Cavalleria Rusticana and Pagliacci drew a packed house at the Metropolitan. The attraction in the first opera was Maria Jeritza, who repeated her vivid
Barber of Seville, January 29.
Rossini’s tuneful and comic Barber of Seville always strikes a responsive chord in the hearts of habitues of the Metropolitan, and, with three such stars as Galli-Curci, Titta Ruffo and Mario Chamlee heading the cast, it is not surprising	that	at	its first	performance this season
on Monday evening, January 29, there were many^ persons turned away who were unable to gain admission. _
Galli-Curci, in fine voice, was dainty and charming in appearance as Rosina and sang with brilliancy. Of course her Una voce	poco	fa	aria	was	greeted with tumultuous
applause; this	was the	case	also	with the polonaise from
Mignon and Home, Sweet Home, which she interpolated in the Lesson Scene. She tossed off runs and roulades with her accustomed ease, much to the satisfaction of her admirers.
Rich-voiced	Titta	Ruffo,	as	Figaro, dominated the
stage every time he appeared. He made much of the Largo al factotum and heartily deserved the applause which was his at the completion of the aria._ He also was in excellent voice, and the humor he injected into the role was enjoyed to the utmost by the audience.
Mario Chamlee sang and acted Almaviva with distinction. His is a rich voice of lovely quality and he made the most of his opportunities, histrionically, and vocally, as the reckless Almaviva. Didur put the proper humor into Don Basilio and Malatesta did some fine work as Dr. Bartolo. Others in the cast were Reschiglian, Florello; Marie Mattfeld, Berta, and Pietro Audisio, an official. Papi conducted with spirit.
William Tell, January 30.
Brooklyn patrons had an opportunity on Tuesday evening to hear Rossini’s William Tell splendidly sung by an altogether capable cast. It was an opportunity they evidently felt was not to be missed, for the house was crowded to its capacity. The work was reviewed in detail so recently in connection with its revival at the Metropolitan that it is not necessary to go into it at length at this time. Suffice to say that the principals repeated their noteworthy performance. Rosa Ponselle was the Princess Mathilda . and the beauty and power of her voice were shown to good advantage in the smaller auditorium. Giovanni Martinelli was a dashing Arnold, the polish and dramatic fervor of his delineation scoring for him another triumph. One of the finest things Giuseppe Danise has done is his characterization of the title role. Vocally and histrionically he made of it a vital bit. Jose Mardones completed this notable quartet with an excellent performance of the role of Walter Furst. The remainder of the cast consisted of Paolo Ananian •as Gess-ler, Angelo Bada as Rudolph, Italo Picchi as Melchthal, Milo Picco as Leuthold, Flora Perini as Hedwig. Ellen Dolossy as Gemmey and Max Bloch as Ruodi. Gennaro Papi conducted with aplomb and the overture which was played preceding the second act was given a reading which Called forth the long continued and enthusiastic applause of the audience. Mr. Papi graciously insisted upon the members of the orchestra standing and sharing it with him.
Boheme, January 31.
Mme. Delia Reinhardt, announced to sing Mimi, fell ill, and Mme. Alda, that ever ready and wonderfully versatile artist, jumped in and saved the situation. She gave her well known impersonation of the Murger heroine, making her sorrows seem real, and voicing them with lovely tones and perfected singing art.
The Rodolfo of the occasion was Giacomo Lauri-Volpi, making his second Metropolitan appearance. His youth, spirit, and feeling made the romantic picture necessary for the role, and carried conviction aided by his competent acting. Lauri-Volpi’s vocalism was. excellent and while nervousness seemed to mar his efforts slightly now and then, on the whole his tenor contributions were engaging, effective, and highly promising for his future operatic activities here.
A very spicy, pretty, and well sung Musetta was the offering of Marie Sundel’ius. Scotti, Picco, and Rothier did a great deal toward upholding the comedy elements of the libretto. Moranzoni conducted with his customary mastery.
Tannhäuser, February 1.
A revival of this formerly so popular opera (and one destined to renew its popularity, to judge by the results noted last Thursday) was welcomed by the Wagner-loving public—and no doubt also by the management, whose ingenuity in the matter of repertoire has been taxed to the utmost since the banning of Wagner and his much too
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