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MUSICAL COURIER
WHEN IN BERLIN
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success in a concert given at the Normal School Auditorium. Her program included numbers by Handel, Bach, Lie, Thrane, Reger, Farley, Ganz, Hageman, Debussy, Dalcroze MacDowell, Black, Watts, Glen, Chadwick, Grant-Schaefer and MacFadyeh. Mr. Robin (Katherine Glen) and Little David Play on Your Harp (Grant-Schaefer) had to be repeated and the following encores were granted by the gracious singer: Oh Whistle an I’ll Come to Ye, Cuckoo Clock (given twice), De Ol’ Ark’s Amoverin’ (twice), Carry Me Back to Old Virginny, Flirtation, Cornin’ Thru the Rye, Little Irish Girl and Last Rose of Summer.
The Reveille of January 25 said: “Greeted by an audience which filled the State Normal School Auditorium to overflowing, May Peterson, American prima donna, gave a delightful concert last night to a varied selection. She was called upon time after time for encores and responded generously.” The Herald wrote: “Her numbers were so popular that she was repeatedly encored,” while the American commented: “Miss Peterson impressed her audience with her rich, mellow tone. She sings with a pleasing dramatic interpretation of her numbers.”	J. K.
Soder-Hueck Artists Continuously Before the Public
Ellie Marion Ebeling, whose fine soprano voice has jbeen heard in many succcessful engagements this winter, was the soloist at the big annual concert of St. Peter’s Church, New York, on February 22, the New York String Quartet and a tenor also participating in the program.
Miss Ebeling sang Agathe’s aria from Freischutz_ exceedingly well, in versatility of mood and dramatic climax at the ending. Among her songs, Adelaide, ,by Beethoven, was especially fine in tone coloring. The same may be said of the Hildach Duet with the tenor. Die Allmacht by Schubert, given with mixed chorus and string quartet, and so well suited to her rich, full soprano voice, proved the most successful number on the program and made a deep impression on the audience.
On February 20 Miss Ebeling sang the solo part in one of the choral numbers, Sur la Mer by Vincent D’lndy, given by the Mozart Society at its concert at the Hotel Astor. April 5 Miss Ebeling is engaged as assisting artist in another big concert.
Myra Hess’ Many New York Appearances
Annie Friedberg, manager of Myra Hess, has arranged an additional recital for this pianist in response to request. It is evident that there is a demand for Miss Hess’ playing in New York, as she has already appeared here three times with orchestra and in recital.
Miss Hess will be heard with the New York Symphony Orchestra, under Walter Damrosch, March 3 and 4'and also, on March 24, Saturday afternoon, has been_selected for the special request program. This recital will mark Miss Hess’ seventh appearance in New York since January 1.
John Charles Thomas Busy
John Charles Thomas, American baritone, is having a month chock full of dates. On February 11 he sang at the Boston Opera House; 13, 15, 16, 19, 20 and 22, at private soirees in this city; 23, at Summit; 26, in Brooklyn; 28, in New York at another soiree. He is certainly in demand.
Vera Curtfs Has Not Sung for Radio
Vera Curtis, soprano of the Metropolitan Opera Company, has asked the Musical Courier to_ announce that she is not the Vera Curtis who has been singing over the Radio.
Leginska to Fill Another Orchestra Engagement
Ethel Leginska has been engaged as assisting artist with the Brooklyn Orchestral Society for a performance at the Academy of Music, Brooklyn, on March 19.
who graciously appeared in place of Tekla Farm-McRinnie. Her accompanist was Margaret Livingston Hill.
Bernardo Olshansky Appears in Costume.
Another concert in the Artist Series, given under the auspices of the Pennsylvania Federation of Music Clubs, took place February 14, at the Little Plays’ and Players’ Club. Bernardo Olshansky, baritone, was the artist, assisted by Frances Riddle, danseuse, and accompanied by Elsa Troetschel Enos. Mr. Olshansky appeared in a brilliant native costume of green, gold and purple. On his program were works by Gretchaninoff, Tschaikowsky, Rimsky-Korsakoff, Paskolowa, Warlanoff and Prigazawa.
Philadelphia Music Club Notes.
The Philadelphia Music Club honored its composer-members by devoting its recital February 20, in the Bellevue-Stratford, to the presentation of compositions of seven of them. The program displayed an interesting diversity of musical forms, including a quartet for strings by Frances McCollin, a song cycle by Adela Tucker Gulbrandsen, composition for two pianos by Helen Bader Yost, musical setting for a poem, by Elizabeth Gest, trio for women’s voices by Mrs. William A. Capon, duets for soprano and tenor by M. Grace Houseman and piano numbers by Agnes Clune Quinlan.
The Philadelphia Music Club’s annual luncheon took place in the Bellevue-Stratford February 15. Among the speakers were General Atterbury and J. Fred Wolle.
An elaborate program of Russian music, staged and costumed authentically, was given by active members of the club. A troupe of native Russian musicians contributed a bizarre note to the production. Russian folk dances by pupils of Caroline Littlefield and orchestral numbers played by the Philadelphia Women’s Symphony Orchestra, J. W. F. Leman, conductor, completed an interesting recital.
At the meeting of theh Philadelphia Music Club on February 6, in the Bellevue-Stratford, the program was given by the prize winners of the club contest held a week ago. The first prize winners gave the first part of the program. Jules Sternberg, violinist, opened the program with the first movement of the Vieuxtemps concerto, No. 2, and the first movement of the sonata for violin and piano by John Alden Carpenter. Florence Adele Wightman, pianist, played the first movement of the E major sonata by Beethoven and the MacDowell Concert Etude. Bessie Phillips Yarnall, contralto, sang Printemps qui Commence, from Samson and Delilah, by Saint-Saëns, and The Danza, by Chadwick. Arthur Tracy, tenor, sang the aria, If With All Your Hearts from Elijah, (Mendelssohn) and the Spirit Flower by Campbell-Tipton. The second part of the program was given by the second prize winners: Louis Jenkins, pianist; Veronica Sweigart, contralto, and Oscar Langman, violinist. The accompanists were Flora R. Ripka, Dorothea Neebe Lange, Sarette Blackman and Arthur E. Hice.	M. M. C.
The Ukrainians in Mexico
The Ukrainian National Chorus; Prof. Alexander Koshetz, who directs them; Max Rabinoff, who is presenting them to the American public, together with Mile. Oda Slobodskaj a, prima donna soprano, formerly of the Petro-grad Grand Opera Company, and associate artists, recently returned to the United States from Mexico. The enthusiasm of the music-loving Mexicans knew no bounds. All of the concerts of the tour were given under the patronage of Minister of Education and Fine Arts Vasconcelos and Minister of Finance de la Huerta, and the government spent a large amount for advertising in order that the Mexican people might benefit in a cultural way as well as to enable them to enjoy this unique organization.
A banquet was given for them at the historic national palace, which stands on the site of the residence of the Aztec monarch, Montezuma, on which occasion many notables were present, including President Obregon, Minister of Education and Fine Arts Vasconcelos, Minister of Finance de la Huerta, two of the most famous musicians of _ Mexico, Señor Ponce and Señor M. Lerdo de Tejada. Besides this, a reception was held in the delightful gardens of the picturesque old Mission San Angelin, where members of the chorus were presented to some of the most distinguished of Mexico’s citizens in every walk of life.
At the concerts everywhere the audiences were extremely enthusiastic. The differences in language proved no obstacle as to mutual understanding and appreciation.
The Mexican tour lasted eight weeks, and during that time fifty-seven concerts were given altogether, twenty-three in the City of Mexico alone. One, on Christmas Monday afternoon, was heard by 32,600 people in the great bullfight arena of the Plaza de Toros, after the capacity of the largest theater in the city, which seats over three thousand, had proved insufficient to hold the crowds that sought admission. This vast gathering is believed to have broken all concert attendance records. Three more concerts were also held in the arena, the audiences being nearly as large. Only three weeks had been originally booked in Mexico, and only one or two for the capital city, but so great was the interest aroused by the Russians, a longer stay was requested, and so five extra weeks, time intended for a Pacific Coast tour, was added to the Mexican itinerary.
Peterson Delights Bellingham, Wash.
Bellingham, Wash., February 1.—January 24, May Peterson, Metropolitan Opera soprano, appeared with marked
March 1, 1923
PHILADELPHIA HEARS
GERMAN OPERA COMPANY
Music Club Hears Program by Prize Winners and One by
Composer Members—Cortot, Sylva, Gabowitz, Samaroff and Olshansky Give Recitals—Philadelphia and Philharmonic Orchestras Continue Series
Philadelphia, Pa., February 17.—Philadelphia has been enjoying a week of Wagnerian opera, presented by the German Opera Company at the Metropolitan Opera House. Die Meistersinger was the opening opera, February 5, in which the principal parts were taken by Friedrich Schorr as Han Sachs, Desidor Zador as Beckmesser, Robert Hutt as Walther, Marcella Roeseler as Eva, Ernst Lehmann as Pogner, Heinz Bollmann as Vogelsang and Paul Schwarz as David. Leo Blech conducted. Tuesday evening Lohe.n-grin was offered in which Adolf Lussmann had the title role, Meta Seinemayer appeared as Elsa, Elsa Allen as Ortrud, Friedrich Plaschke as Frederick, Benno Ziegler as the Herald, Alexander Kipnis as the King, Friedel Schwarz, Hede Mex, Elfriede Thon and Emmy Bassth as the four pages. Eduard Moerike conducted. The matinee on Thursday was Tristan and Isolde in which Madame Lor-enz-Hoellitscher took the part of Isolde with Jacques Wilus as Tristan. The other principal parts were taken as follows:	Ottilie Metzger-Lattermann, Brangaene; Alexander
Ripnis, King Mark; Friedrich Plaschke, Kurvenal. Eduard Moericke conducted.
Thursday evening came Der Fliegender Hollander with Eugen Gottlieb conducting and Theodor Lattermann singing the title role. Elsa Allen appeared as Senta, Ernst Lehmann as Daland, Robert Hutt as Erik, Emma Bassth as Mary, and Johannes Scheurig as the Steersman. An excellent performance of Tannhäuser was given Friday evening, with Adolf Lussmann in the title role; Elsa Alsen as Venus, Meta Seinemayer as Elizabeth, Paul Schwarz as Heinrich, Alexander Kipnis as Herrmann and Friedrich Schorr as Wolfram. Leo Blech conducted. Die Meistejr-singer was repeated for the Saturday matinee, and Die Fledermaus by Strauss was the closing opera Saturday evening.
The operas Lohengrin, Tristan and Isolde and Tannhäuser were broadcasted through Gimbel Brothers’ broadcasting station and were heard as far as Canada, Maine, Missouri, North Dakota, Georgia, Illinois and Michigan.
Philadelphia Orchestra Gives Wagner.
The Philadelphia Orchestra, Stokowski conducting, gave a Wagner program at its concerts of February 9 and 10, which surpassed even its past achievements of this kind. The prelude to act III of Tannhäuser was the first number, followed by the Paris version of the overture and Venusberg Music. The Siegfried Idyll and Siegfried’s Death-March closed the first part of the program. After the intermission came the Parsifal Vorspiel and Charfrei-tagszauber, the prelude to act III, Vorspiel and Liebestod from Tristan.
Alfred Cortot at Monday Morning Musicale.
Alfred Cortot was the soloist at the Monday Morning Musicale, February 5. His command of the keyboard and finesse were once more manifested in a most interesting program.
Marguerite Sylva in Recital.
Marguerite Sylva, mezzo-soprano, gave a recital in Witherspoon Hall, February 8. Her program included La Fiancee, by Lord Berners; three Spanish songs, by Osma; Hilaria, by Weingartner, and Auf dein Gruehen Balkon, by Wolf.
Appearance of Louis Gabowitz.
Louis Gabowitz, violinist, appeared in recital at Witherspoon Hall, February 9. His program included Wieniaw-ski’s concerto in D minor 3nd S3.int~S3.cns Introduction and Rondo Capriccioso. The audience demanded several encores. Clarence Fuhrman, the accompanist, played solos by Chopin, Liszt and Mendelssohn.
Philharmonic Orchestra Concert Introduces Violin Prodigy.
Another interesting concert was given by the Philharmonic Orchestra under Josef Pasternack, February -11, in the Academy of Music. Mr. Pasternack introduced a remarkable young violinist, David Madison, who is only fifteen years old and delighted his audience by his playing of the Bruch violin concerto. Hans Kindler played Lalo’s D minor concerto and the orchestral numbers were Mendelssohn’s Fin-gal’s Cave overture, Wagner’s Waldweben and Borodin’s Prince Igor Dances.
Olga Samaroff at Matinee Musical Club.
The chief feature of the program presented by the Matinee Musical Club, February 13, was the appearance of Olga Samaroff as soloist. Her program included Novelette (Schumann), intermezzo and B minor capriccio (Brahms), a group of Chopin numbers, Paganini s 1 occata and Cam-panella (Liszt’s arrangement), and Debussy’s Cathedrale Engloutie. The audience was enthusiastic and demanded several encores. Those preceding Mme. Samaroff were Ruth Montagne, who sang three songs, accompanied by Dorothea Neebe Lange; Blanche ^. Hubbard, harpist; Effie Irene Hubbard, cellist, and Emily Stokes Hagar, soprano,
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MADAME BE
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J. A. COWAN
Mgr. Kansas City Conservatory
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FAMOUS HOLLAND TENOR CONDUCTING MASTERCLASS Kansas City Conservatory