MUSICAL COURIER 64 February 8, 1923 AMUSEMENTS B’way and 38th Street. Evenings 8:15 Matinees: Wed. & Sat. at 2:15 KNICKERBOCKER THEATRE Seats 6 Weeks Ahead—Buy in Advance Henry W. Savage offers The Comedy with Music Sensation “The CLINGING VINE״ with PEGGY WOOD and a Brilliant, Singing Cast Book and Lyrics by Zelda Sears Music by Harold Levey B'way at 51st St. “Subway to Door״ EDW. BOWES, Mng. Dir. CAPITOL World's Largest and foremost Motion Picture Palace Beginning Sunday, February 11. GOLDWYN PRESENTS HALL CAINE’S The CHRISTIAN With Richard Dix, Mac Busch, Garreth Hughes, Mahlon Hamilton DIRECTED BY MAURICE TOURNEUR CAPITOL GRAND ORCHESTRA Erno Rapee, Conductor Presentations by S. L. ROTHAFEL ¿Paramount ïPJjzlures^ Theatres under the direction of Hugo Riesenfeld The RIVOLI BROADWAY AND 49th ST. MARION DAVIES IN “ADAM AND EVA’־ By Guy Bolton and George Middleton. A Cosmopolitan Production—a Paramount Picture. RIESENFELD’S CLASSICAL JAZZ. RIVOLI CONCERT ORCHESTRA The RIALTO broadway and 42d st. SECOND WEEK ON BROADWAY Jesse L. Lasky presents a GEORGE MELFORD production ״JAVA HEAD” BY JOSEPH HEROES HEIMER With Leatrice Joy, Jacqueline Logan, Raymond Hatton, George Fawcett and Albert Roscoe A Paramount Picture RIESENFELD’S CLASSICAL JAZZ. FAMOUS RIALTO ORCHESTRA WHAT THE JURY THINKS [The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the*writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance.—Editor’s Note.] Raymond Havens, Pianist, January 15 Evening Mail If Mr. Havens could stimulate his abandon and coax his imagination a little more, lie would be very interesting. Tribune Bach’s transcription of a D minor concerto generally considered Vivaldi’s, while smoothly played, had a rather flat, grammatical sound. World His playing, even at its most emphatic, wants power. Evening Journal' He mixed a large and robust quality of imagination with technic in playing them. [Respighi numbers.] American He played Vivaldi’s concerto delightfully. Herald There was . . . a facile and accurate technic which at times developed real power. Elena Gerhardt, Soprano, January 16 Evening Globe Evening Mail It [her voice] did not attain She was in splendid voice, its best estate. Elly Ney, Pianist, January 16 World We can only confess further that we found Mme. Ney’s program a bore. The music was of widely fluctuating merits . . . and the program itself was arranged without the slightest apparent consideration for the listener’s powers of endurance. Evening Globe But with the Beethoven she was less successful, playing the greater part at such a monotonously slow tempo and with such restraint that the piece seemed interminable. Evening Post It was . . . disappointing not to have Mme. Ney read between the lines and put more charm and expression into Beethoven’s opus 111. American It was, so it seemed to him, [the reviewer] the most absorbingly interesting and stimulating recital of its kind heard this season. Tribune Beethoven’s C minor sonata, op. Ill, followed . . . and here Mine. Ney was at her best, giving a fiery, impassionate performance of the first movement, while not neglecting the quarter periods in the storm, and bringing out, on the other hand, the serene calm of the andante. American _Terape rament, imagination, vision and a complete concentration in the message of the composer . . . marked her master-ful_ performances of Brahms’ C major sonata No. 1 and Beethoven’s C minor, op. 111. Elizabeth Cueny Praises Ernest Davis Apropos Ernest Davis’s recent achievement in singing Tannhäuser in St. Louis at twenty-four hours’ notice, Elizabeth Cueny, the local manager, writes to Daniel Mayer: “I thank you for getting Mr. Davis in to sing Tannhäuser. He was somewhat unhappy because he knew he was not doing himself justice, but the beauty of his voice is easily recognizable.” Musical Comedy, Drama and Motion Pictures Old Apple Tree and Herbert’s The Volunteer Fireman. The travesty was cleverly executed and scored a pronounced success. The overture was another Herbert number, A1 Fresco, which the Strand Symphony Orchestra, Carl Edouarde conductor, played with verve. The regular Mark Strand Topical Review; a comedy, The Champeen, and the organ solo played by Percy J. Starne, Miis. Doc., and Ralph S. Brainard, completed the program. The Rialto. The feature picture here last week was Jack Holt in Nobody’s Money. Last season this play by William Le Baron enjoyed rather a successful run at the Longacre Theater and it must be admitted that, as a motion picture, it makes fairly good entertainment; anyway Jack Holt is always interesting. The program began with the usual Rialto magazine which to many is one of the most enjoyable features of any motion picture program. The novelty here was an Egyptian dancer, Princesse Nyota-Nyoka, who was exceedingly graceful in Danse Bedouine, Naggiar. It was to be regretted the number was so short because the dancer made an exceedingly good impression and could easily have encored. The overture was the familiar music of the Scheherazade, Rimsky-Korsakoff (first and second movement). Joseph Littau was the conductor of the second performance which we attended. This fascinating music is offered so frequently at large motion picture theaters that it is no longer a novelty to the average audience but a number which is greeted with applause at the beginning of the first bars. It is affectionately termed as “movie music.” It is rather gratifying at any rate that a composer who has written with such originality and art as Rimsky-Korsakoff should be a household word. The overture was followed immediately by Riesenfeld’s Classical Jazz. The particular arrangement of last week was that new number by Walter Donaldson heard everywhere, Carolina in the Morning. It was difficult to determine who enjoyed the jazz more, the audience or the orchestra. After the feature, Weber’s Male Quartet sang two numbers, Lassie O’ Mine (Walt) and But He Didn’t (comedy number by James H. Rogers). These musicians sing well, their voices harmonize nicely, and their numbers were artistic. The program ended with a Dan Mason comedy, which was really awfully funny and thoroughly amusing; in fact, “Pop” Tuttle and his old gray “hoss” were such an amusing pair that it made one wish that perhaps the animated cartoons would cease to flourish. The Rxvoli. Lewis Stone found himself featured in two of the principal Broadway houses last week for while the Strand was showing him in The Dangerous Age, at the Rivoli, William DeMille’s, The World’s Applause, was featuring him in an entirely different role. Immediately preceding the feature picture here there was a scene from Massenet’s Herodiade with Marcel Salesco, baritone; Miriam Lax, soprano; and Inga Wank, mezzo-soprano. Mr. Salesco proved to have an unusually fine voice, giving a praiseworthy rendition of the Vision Fugitive. The dancing of Lillian Powell, Alma Bailey and Llora Ryert added materially to the effectiveness of the scene. There was another dance number on the program, Paul Oscard and Vera Myers doing two from Spain. The overture was the thirteenth Hungarian rhapsody of Liszt, Hugo Riesenfeld and Frederick Stahlberg conducting the orchestra and Bela Nyary playing the czymbalom cadenza. Homesick, the popular song, furnished the basis for Riesenfeld’s Classical Jazz, and the dignified march across the stage of the various items mentioned in its chorus while at the same time the words themeselves were screened where all could read, scored a hit; in fact so delighted was the audience that it was necessary to repeat both chorus and procession. The Rivoli Pictorial, and an unusually charming comedy featuring Baby Peggy in Peg of the Movies, completed the bill. May Johnson. Intimate Recital at A. Russ Patterson’s On January 30, another Intimate Recital of the series being held at the studios