February 8, 1923
MUSICAL COURIER
62
OPINIONS OF THE PRESS
(Continued from page 57.)
engaged as conductor of the Detroit Symphony Orchestra, and the five years that have passed have seen the Detroit Symphony Orchestra become one of the foremost organizations of the world; have seen the erection of Orchestra Hall, one of the most beautiful and perfect auditoriums in the country. Mr. Gabrilowitsch in these five years has never spared himself,* and the result is that today the Detroit Symphony Orchestra has as great a reputation in Europe as it has in this country. Mr. Gabrilowitsch has laid a splendid foundation of a beautiful edifice and with the loyal support he receives from the men and women who support the orchestra, it cannot be many years before Detroit’s great orchestra is as firmly fixed in the civic life of the community as the orchestras of Chicago, Philadelphia and Boston.
Sylvia Lent’s Playing Endorsed by German Critics
Sylvia Lent, violinist, who will give a recital at Aeolian Hall on Monday afternoon, March S, received some flatn ing comments from the critics on her recent tour of Germany. The following are a few excerpts:
She gave evidence of the superiority of her attainments, espe-cially in Bruch’s Scottish Fantasie, which she rendered with finished bow ־and finger technic, marked rhythm and real feeling.— Leipziger Tageblatt und Handelszeitung, December 6, 1922.
A young violinist, Sylvia Lent, with music-temperament, a flawless technic and a big tone brought us an international program, Italian, French, German, Spanish, which she played throughout with pure virtuosity.—Leipziger Volkszeitung.
Sylvia Lent, violinist, is well worth hearing. . . . Her beautiful soulful tone made a most pleasing impression—one that will be long remembered.—Leipziger Neueste Nachrichten, December 5, 1922.
She played with an astonishing maturity, in a manner that was musical through and through, and with a splendidly carrying tone on a very fine instrument.—Neue Leipziger Zeitung, December 7, 1922.
A young and highly gifted violinist, Sylvia Lent, made her debut with the conventional virtuoso program and delighted her audience through her musical and technical excellence as well as by her tone.—Dresden Neueste Nachrichten, November 24, 1922.
I heard a splendid rendition by Sylvia Lent of the Habanera of Sarasate and of the Rondo Capriccioso of Saint-Saëns.—Dresden-Sachsische Volkszeitung.
Sylvia Lent comes from an excellent school. Not in vain has Leopold Auer, since leaving Russia, continued his teaching on the other side of the Atlantic. The seed is already blossoming. Her performance of the Vitalii Chaconne left a most pleasant impression as to tone and musical feeling. All conditions were favorable to the debutante, whose temperamental warm feeling and beautiful pure tone were wholly satisfying.—Sachsische Staatszeitung, November 23, 1922.
Sylvia Lent may look ahead with great expectations. For one so young, she displayed an astonishing maturity and breadth of conception, especially noticeable in the Vitalii Chaconne. Her glittering, thoroughly developed technic, equal to all demands and her absolute purity of Intonation, even in the highest positions and most difficult double stoppings, give assurance of the brightest of futures.—Munich Bayr Staatszeitung, December 9, 1922.
Press Praises Malkin’s Playing
Joseph Malkin, on tour with Farrar, continues winning warm press notices wherever he appears; indeed, one would think the prima donna would find them too warm. Southern and Middle Western papers were especially full of praises for him, only a portion finding place in this issue, however, as follows:
Mr. Malkin, in a group of well-selected numbers, proved himself a cellist of distinguished attainments.—Cincinnati Commercial Tribune, November 23.
Miss Farrar had a cello artist with her in the person of Joseph Malkin, who made himself a favorite.—The Omaha Daily News, November 4.
The accompanying artists were of exceptional excellence, and Mr. Malkin, in particular, was received with high approval, more particularly for a splendid reading of Popper’s Hungarian Rhap-sodie.—The Louisville Herald, November 24.
Joseph Malkin, an excellent cellist, technically equipped for difficult playing and with an interpretive sense. He was splendid in the first movement of Goltermann’s A minor concerto, and in Popper’s Hungarian Rhapsody.—The St. Louis Star, November 14.
Mr. Malkin is a distinguished virtuoso. He plays with suavity, freedom and breadth of style. The first movement of the Golter-mann concerto in A minor was played with dignity. Rimsky-Korsakoff’s Song of India, with its broad cantabile, and Popper’s Hungarian Rhapsody, full of rhythmic interest, were very effective. —Baltimore American, December 9.
Joseph Malkin, the cellist, was unquestionably a surprise to the audience, which grew in enthusiasm as this master of this pleasing instrument played on through his program. He was recalled several times and his Hungarian Rhapsodie by Popper was wonderfully well done and for an encore Mr. Malkin played the Beethoven Minuet.—The Decatur Review, November 15.
Joseph Malkin proved himself a fine musician in his cello numbers and was at once a favorite with the audience, which demanded encore after encore. Especially beautiful was his interpretation of A Song of India (Rimsky-Korsakoff), in which all of the feeling and depth of emotion were ably brought forth. Two encores, Minuet (Beethoven) and Canto Amoroso (Sgambati-Elman), were r.plete with tonal beauty.—The Springfield Daily News, November 21.
From the standpoint of real ability and a sincere and genuine art, Joseph Malkin, cellist, was the great success of the evening. It was to him that the ovation was given. And it was rightly deserved. The details of his technic and execution were faultless. He was an artist to the nth degree. But it was the feeling and beauty that he poured into his interpretation that thrilled his hearers. His numbers were first movement of concerto A minor, by Goltermann, A Song of India, by Rimsky-Korsakoff, and Hungarian Rhapsodie, by D. Popper. He encored with Drdla’s Souvenir. If no other part of this program is remembered, it will be the music of the cellist.—The Richmond Item, November 28.
Nyiregyhazi in Williamsport
The critic of the Williamsport (Pa.) Gazette and Bulletin said of Nyiregyhazi:
Everything which had been said or written in praise of the genius of Erwin Nyiregyhazi, the Hungarian pianist, prior to his concert here, became a series of unsatisfactory and futile words to those who were privileged to hear him and it was the consensus of opinion that mere words could not begin to transmit a conception of his marvelous mastery of the piano.
A slender boy in appearance, he proved to be anything but that in his interpretations. Under his hands, with their remarkable strength, the instrument became a living thing, filling the auditorium with ringing tones or subdued mellow notes at his will. He displayed wonderful agility and his chromatic runs and trills were a revelation to his audience. It would be difficult to name one particular number in which he triumphed, as all were on a par with one another.
At the close of the program Nyiregyhazi responded to the continued applause and played as the local audience had never before
More Opera Triumphs for Lucchese
Josephine Lucchese, the beautiful and gifted coloratura soprano who has created a sensation this season in New York, Buffalo, Philadelphia and Washington (where she appeared in Lucia, Rigoletto, Traviata, Barber of Seville, Martha and Tales of Hoffman) has recently added new laurels to her series of triumphs in St. Louis, Cleveland, Detroit, Buffalo and Pittsburgh.
Everywhere the critics have praised very enthusiastically the vocal and dramatic ability of the “American Nightingale,” as Miss Lucchese is often referred to, and together with their colleagues of the East have prophesied that “ere long she will be heard from as a celebrity.”
Appended are some of the praises bestowed upon her during January by the press of the East.
In grand opera, like in most other things, a reputation gained is a reputation augmented, and in this sense the superb success of Josephine Lucchese in the role of Violetta is readily accounted for. Friends of the pretty young prima donna, recalling her sensational essay of Gilda in Rigoletto last season, felt assured that in Verdi’s most unhappy heroine she would achieve another and even greater
Photo by Woro & Foschi
JOSEPHINE LUCCHESE as Violetta in Traviata.
triumph. Such was the case last night in the wondrously beautiful singing of the diva.
Miss Lucchese not only sang according to its best tradition, but she acted with unaffected sincerity; altogether a splendid alignment of vocal and dramatic ability.—St. Louis Daily Globe-Democrat.
This beautiful Texas Nightingale—no apologies to Zoc Adkins— last season made a lasting impression upon St. Louis music lovers as Gilda in Rigoletto. Last night that impression was magnified. Even more radiant is the beauty of Lucchese, and more sure, more discriminating in its use, and more warm and lovely is her voice. Those qualities make of her an ideal Violetta, for Dumas’ courtesan is warm, lovely, beautiful and radiant, and almost virginal in his romantic dream of Camille.—St. Louis Times;
Lucia was distinguished by the altogether remarkable interpretation given the name-part of Miss Lucchese.
The word “remarkable” is used with a full sense of its significance. It is unwise to make predictions, but with such a coloratura equipment the high planes of opera s.em to be her destiny. She appears to have all the requisites for a distinguished career—beauty, musician-ship and voice. We wish her well, but the wish is probably superfluous, for the gods seem to have taken care of lier future.—Detroit News.
Another young Am rican singer is on her way to the Metropolitan, or maybe, to the Comique, or Covent Garden, or La Scala. This is a prediction. She is Josephine Lucchese of San Antonio, Texas, and she sang Gilda in Rigoletto last night at the Hanna. ... In the familiar Caro Nome, an aria full of elaborate embroideries and complex roulades, Miss Lucchese sang with the nicest veracity. She gives the impression of singing because that is the matter in hand that gives her the largest joy in living. With last night’s performance as a judgment, Miss Lucchese of Texas is going to be much talked about in musical spheres and very soon.—Cleveland Commercial.
Josephine Lucchese took the part of Gilda. She has a third octave voice capable of most delicate shading. She gave an excellent rendition of coloratura and is one of the most gifted sopranos in this difficult realm. She floated her high notes clearly and truly. Miss Lucchese is as easy to look at as to listen to.—Cleveland Plain Dealer.
Josephine Lucchese, coloratura soprano, was accorded an ovation seldom tendered any artist. Her beautiful, pure •tones, dazzling vocal pyrotechnics in the matter of cadenzas and her rendition of the taxing Mad Scene aroused the house to such a pitch of enthusiasm that ev.n the members of the orchestra rose and joined in the acclaims.— Buffalo Courier.
The part of Gilda was taken by Josephine Lucchese. She was magnificent in the role, with a voice of rare tonal qualities and excellent range. Furthermore, her stage presence was unusually pleasing for she is possessed of both charm and grace.—Pittsburgh Press.
Martha fits Josephine Lucchese like a glove. This girl most assuredly is gifted with a voice. And in the singing of the interpolated Last Rose she met the supreme test—that of driving out of mind all “the past performances” of her great predecessors—and triumphed. For many can sing “grand opera” and “get by,” but to sing this old song—that’s something else again.—Pittsburgh Post.
Gabrilowitsch’s Fifth Anniversary
The fifth anniversary of.the engagement of Ossip Gabrilowitsch, the noted concert pianist, as■ conductor of the Detroit Symphony Orchestra, was celebrated in that city recently with appropriate ceremonies. Commenting on the circumstances which led to the engagement of Mr. Gabrilowitsch, the music critic of the Detroit Free Press said:
December 29, 1917, may be counted as the day on which Detroit began to take its place among the raising of the youthful Siegfried cities of this country that are musically worth while. As a result of his concert, and the others that followed it, Mr. Gabrilowitsch was
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