27
MUSICAL COURIER
March 1, 1923
Metropolitan Opera Company
SPLENDID PERFORMANCES AT METROPOLITAN
AROUSE LARGE AUDIENCES TO GREAT ENTHUSIASM
Galli-Curci in Lucia and Jeritza in Tannhäuser Start the Week—Ponselle, Gordon, Peralta, Rethbert, Alda, Gigli, Whitehill, Taucher, Martinelli, Scotti and Rothier Also Score in Popular Roles—Thalia Sabanieva Makes Successful Debut as Butterfly—A Splendid Concert Program
originally announced, the concert was to have been given by Mr. and Mrs. Mannes who have for many years given sonata recitals together. However, pressure of circumstances made it necessary for Mrs. Mannes to relinquish her place at the piano to her son. The program of the morning was divided into two parts—one of music which created a definite picture, such as Schumann’s Bird as Prophet and Saint-Saëns’ Swan; the other of absolute music, in which group were Mozart’s G major sonata and Bach’s Air on the G String. Several hundred children heard the concert.
Newark Festival Held Earlier This Year
The Newark Festival, under the direction of C. Mortimer Wiske, will be held one week earlier this year than formerly, the dates being Wednesday, April 25; Thursday, April 26, and Friday, April 27. The usual high standard has been maintained in the selection of soloists, those engaged for the forthcoming event including Florence Macbeth, coloratura soprano of the Chicago Opera; Della Baker, soprano; Jeanne Gordon, contralto of the Metropolitan Opera; Paderewski; Heifetz; Byron Hudson, tenor, and Henry Rabke, baritone. The chorus has rehearsed diligently and is in especially fine fettle. The mission of the Newark Festival Association is “to make good music popular, and popular music good.”
Münz to Play in Ithaca, March 13
Mieczyslaw Münz, the Polish pianist, will appear again as soloist with the New York Symphony Orchestra, this time at Cornell University, Ithaca, N. Y., on March 13, when he will play the Liszt A major concerto.
MARY
MEZZO-SOPRANO
attracts large audience to her debut recital at Aeolian Hall, Monday afternoon, February 19
Comments of the Press
Mary Browne, mezzo-soprano, rewarded an attentive audience at Aeolian Hall yesterday afternoon with a beautifully sung recital of important German and English songs. Intelligent rhythmic observance, generously rounded tones and excellent diction characterize Miss Browne’s singing. Her voice showed to best advantage in the group of Brahms and in two lovely lied-ers by Wolf. . .and she did some glorious vocalization in English songs by Campbell-Tipton, Grainger, Leoni and Richard Hageman.—New York Morning Telegraph.
Her voice is a mezzo-soprano of good quality. She shows intelligence and taste, also considerable feeling, or what in German is called “Emp-findung.”—New York Journal.
Her tone grew stronger and more sustained, with more variety of expression and a resonant quality in louder notes.—New York Tribune.
Her voice is intelligently used.—New York Evening World.
Her voice proved to be one of agreeable quality. There was no mistaking the sincerity of the singer’s methods nor her taste. She seemed to treat every song with understanding and with a feeling for its musical quality.—New York Herald.
Miss Browne deserves the utmost credit for the interesting way she sings her songs. In a two-tongue programme of German lieder and modern English pieces she showed keen intelligence for interpretation and a nice sense of tonal shading.—New York Evening Mail.
Manager, ANTONIA SAWYER, Inc.
Aeolian Hall, New York City
Rothier’s voice is in excellent estate this season and his his-trionism never seems to lose its edge. A well sung and vitally delivered contribution was that of Danise, who undertook the part of the unfortunate Valentine., Others in the cast were Mmes. Dalossy and Howard, and Paul Ananian. The baton was in the hands of Hasselmans, who revealed his full knowledge of the score and its traditions.
Madame Butterfly, February 24.
A new and delightful Cio-Cio San was heard on Saturday night at the Metropolitan—one who was somewhat of a surprise. Down on the program Delia Reinhardt was scheduled to essay the role of the little Japanese bride, but owing to continued indisposition, at the last minute Thalia Sabanieva, who hails from Greece, was called upon to sing. Mme. Sabanieva was to have made her debut with the company, on Tuesday night, February 27, in Philadelphia as Mimi in Boheme, but she answered the hurry call and covered herself with glory. In appearance, she is ideally suited to the demands of the role, and, vocally, she gave much to satisfy and establish herself with the large audience. She is the possessor of a voice of light but charming quality, which she uses with the finesse of an artist. The audience, recognizing her ability and gifts, rewarded her with genuine applause. In fine voice and spirits, Gigli was the very American looking Pinkerton, and Scotti, as Sharpless, again won favor in one of his best roles. Perini was a sympathetic Suzuki, and Myrtle Schaaf, having little to do as Mrs. Pinkerton, did that little with effectiveness. Moran-zoni gave the score a splendid reading.
Sunday Night Concert, February 25.
The fifteenth Sunday Night Concert of the present season offered Benno Moiseiwitsch as the visiting soloist. The pianist gave a superb rendition of the Tschaikowsky F flat minor concerto, which aroused his hearers to great applause. Later he added to the most favorable impression created earlier in the evening by playing three shorter pieces: Hark, Hark the Lark (Schubert-Liszt), Chant Polonais (Chopin-Liszt) and Tarantella—Venezia e Napoli—(Liszt). The orchestra, under Paul Eisler, gave the pianist admirable support. The orchestral numbers, which seemed to be much appreciated by the attentive audience, were the Leo-nore No. 3 overture (Beethoven), Les Preludes, a tone poem (Liszt) and the Carnaval, of Paul Tietjens.
Cecil Arden sang the II va venir from La Juive with effectiveness, winning much applause from the audience. Emile Rousseau, a new tenor, made his appearance for the first time, selecting as his vehicle the Ridi Pagliacci. He made a favorable impression and one will be better able to judge his ability upon second hearing. Grace Anthony sang the Tacea la notte placida from Trovatore in good voice and with proper style. Rosa Ponselle elected as her contribution to the program an aria from Don Carlos, revealing to advantage her rich and beautiful voice, which met with the genuine approval of the audience. Jose Mar-dones also delighted with Le Veau d’or from Faust and Orville Harrold sang an aria from Tosca in excellent voice and style. All the artists were well received.
A Six Day Community Institute at Ithaca Conservatory
The Ithaca Conservatory of Music and affiliated schools in line with its Extension Service is planning a six-day community institute from April 2 to April 7 for music teachers and music directors, professional and semi-professional musicians.
The conservatory has placed its equipment, teaching staff and other facilities at the disposal of the Institute to help in the discussion of musical problems. At present no assembly of this order is available to the general musician, and such a gathering should be a source of considerable helpfulness and inspiration.
Among the musical leaders who will take an important part in the institute and music conference will be W. Grant Egbert, president of the Ithaca Conservatory; Dean George C. Williams, Herbert Witherspoon, Patrick Conway, Dr Frederick Martin, Louise Tewksbury, Dr. Albert H. Sharpe, Bert Rogers Lyon, John Quine and C. W. Whitney of Cornell University.
Hugo Kaun’s Successes
The following is communicated to the Musical Courier by a special correspondent:
The c^max Hugo _ Kaun’s successes as a composer of choral works was achieved in Berlin early in December when his recently completed Requiem for male chorus, female chorus, contralto, solo, orchestra and organ, had its first public performance. The occasion was a special Kaun concert given by the Berlin Liedertafel with the assistance of the Philharmonic Orchestra and Elizabeth Hofmann, soloist.
The entire Berlin press bestowed enthusiastic praise upon this latest work of the composer, which is based upon a Biblical text and is planned and carried out on big, broad lines. The choruses, according to the Signale, make a powerful appeal, and the orchestra, solo and organ parts reveal the master hand. The performance culminated in an ovation for Kaun.
A three-days’ Hugo Kaun festival was given at Nuremberg with pronounced success. Two evenings were devoted to programs of Kaun’s orchestral works and the third to a performance of his opera, Der Fremde (The Stranger).
A. M. A.
David Mannes School Concert
The second of the series of Concerts for Young People being given at the David Mannes Music School for the younger students, was presented February 10 by David Mannes and his son, Leopold Damrosch Mannes. As
Lucia, February 19.
Lucia has always been one of Mme. Galli-Curci’s be.st roles. At the Metropolitan performance on Monday, she seemed to be in the best voice of any of her appearances here this season. Hers is an organ of exquisite beauty and it was masterfully handled on this occasion. At her side was Beniamino Gigli, singing Edgardo for the first time this season and making one wonder why it had been entrusted to some one else before. It is an ideal role for him and his ideal voice for the part, rich, warm and, beautiful. Gigli has always had this voice, which nature gave him, but he deserves praise for his development in artistic stature since he came here. It no longer satisfies him merely to sing a role beautifully—he must act it, too, and he does so with ever increasing adroitness. On a level with the other principals was De Luca as Ashton, with Leon Rothier and Grace Anthony competent in smaller roles. Papi ׳conducted and went out on the stage to take calls with the principals. Why■—in Lucia?
Tannhäuser, February 21 (Evening).
The Wednesday evening audience at the Metropolitan enjoyed a splendid repetition of Tannhäuser, conducted by Bodanzky. Maria Zeritza again made a beautiful Elizabeth and vocally she rose to great heights. Clarence Whitehill, as Wolfram, lent dignity and polish to his characterization and •sang the lact act aria with a beauty of tone and style that won much applause. Curt Taucher, whose impersonation of the title role is one of the best pieces of work that he has done so far, impressed, as- did also Margaret Mat-zenauer, who is a fascinating Venus, endowed with as alluring a voice. Paul Bender as Landgraf also came in for some of the honors. Meader and Gustafson handled their respective parts of Walther and Reinmar exceedingly well.
Aida, February 22 (Matinee).
Holiday throngs crowded the auditorium and upper reaches to hear (and see) this melodious and spectacular masterpiece. It was given a splendidly spirited performance, Frances Peralta doing the title role with vital effect. She sang with taste and fervor and acted in completely convincing style. Martinelli, romantic, fiery, and vocally irresistible, was the Radames. An artistic rendering of high calibre was Jeanne Gordon’s Amneris, picturesque and compelling. Messrs. Danise, a full toned and moving Amonasro, Rothier, a sonorous Ramfis ; and Burke, the King, ׳completed the excellent cast. Moranzoni conducted skillfully.
Cavalleria Rusticana and Pagliacci, February 22 (Evening).
On Thursday evening, the popular double bill entertained a capacity house. In the Mascagni opera, Rosa Ponselle was the Santuzza, singing and acting the exacting role with much skill. Vocally she gave much to delight even the most blasé. Lauri-Volpi was heard for the first time here as Turiddu and gave a fine account of himself. Grace Anthony was again Lucia and Millo Picco a familiar Alfio. Moranzoni gave the score an inspired reading.
In Pagliacci, Elizabeth Rethbert was again heard as Nedda, a role in which she previously made a favorable impression, Manuel Salazar was the Canio, singing with effectiveness, and Antonio Scotti aroused interest and pleasure through his fine piece of acting and singing as Tonio.
Anima Allegra, February 23.
The second hearing of the new Vittadini opera was enjoyed by a large audience and, judging from the reception given the artists and Moranzoni, the conductor, the charming opera will have much popularity. Bori was again piquant and picturesque to the eye, with her dashing costumes and graceful movements. Vocally she left nothing to be desired. Lauri-Volpi, as Pedro, again made a favorable impression. This is certainly a happy (in many respects) role for him and he gave a good account of himself, vocally and otherwise. Coming in for a large share of the honors was Ar-mand Tokatyan, the new Armenian tenor, who sang beautifully and yet acted the clown with apparent ease and spontaneity. Queena Mario, as Consuelo’s companion, did some clever work, and Grace Anthony, Marion Telva and Myrtle Schaaf, as other companions, added to the effectiveness of the performance—in appearance and voice, even though their singing was limited. Galli, Rudolph and Bonfiglio in their incidental dances brought down the house.
Again Moranzoni deserves a word of commendation for his graceful and spirited reading of the colorful score and the efforts that he put forth to make the performance a success.
Faust, February 24 (Matinee).
A very smooth and tuneful performance of Gounod’s most popular opera delighted a houseful of matinee opera goers, among whom were many young people apparently from boarding schools and high schools. It is easy to imagine that they enjoyed the lovely melodies which undoubtedly were new to many of the youthful persons.
To older and more experienced listeners the joys of the afternoon were supplied not only by music, but also by the excellent singing of the artists in the cast. Martinelli took the title part and it need hardly be said that both as to the management of his voice and the romantic dash of his acting he easily made himself a real hero in the estimation of his listeners. He commands the suave style which is required for the delivery of French operatic music, but also he puts into his singing the true Italian warmth, without which operatic vocalism never is at its best.
Mme. Alda was the Marguerite and she furnished a most pleasing picture as to face, form, and costume, and furthermore she warbled very beautifully and acted most pathetically when the expression of sorrow was required. In the first act she did some remarkably fine singing as to purity of tone and perfection of phrasing. An old friend was Rothier in the role of Mephistopheles and, of course, he gave an arresting impersonation of the rollicking Satan whom Gounod’s librettist depicted with so much operatic humor.