March 1, 1923
MUSICAL COURIER
44
Chaliapin Hero' of Russian Opera Season.
Of course, Chaliapin was the hero of the Russian season and his success as Boris Godunoff was of such magnitude as has seldom, if ever, been registered here. It was the first time in the memory of this reporter—or at any rate, the first time in the many years this writer has been on the Musical Courier—that a singer has made a speech from the stage. Campanini, as general director of the Chicago Opera Company, and other impresarios have spoken to opera audiences from the auditorium stage, the latest to be remembered being Samuel Insull, president of the Chicago Civic Opera, but no singer as an individual has ever been called upon to make a speech. At his first appearance as Boris in Chicago, Chaliapin, surrounded by all the members of the Russian Opera Company who had welcomed the guest artist by presenting him the traditional welcome of bread and salt, said after the fourth scene of Boris Godunoff on Tuesday evening: “We are told that Americans are materialists. Well, look at this packed and enthusiastic gathering which does not understand a word of our language, but which pays tribute to the beauty of music alone and shows unmistakably that art is loved in America.”
The above is not verbatim—the words were said by Chaliapin in Russian and later translated by the interpreter and stage director of the company—but the meaning is there, showing that Chaliapin understands Americans as though he had lived here many years. The famous basso said many other complimentary things regarding Americans and America, and at the conclusion of his speech, amidst thunderous plaudits, the orchestra played a fanfare which added in making pandemonium reign supreme for a few minutes. What was that fanfare, by the way? It had a sort of patriotic appeal. Was it not the Soviet in patriotic hymns ? Be it this or that, the tumultuous reception given Chaliapin was, to say the least, as thrilling as his portrayal of Boris.
Winnipeg Male Voice Choir.
The Winnipeg Male Choir, heralded as one of the best organizations of its kind not only throughout the Northwest but also throughout this continent, lived up to that reputation at the first concert given by that organization here last year and strengthened its hold on the Chicago public by giving an even better account of itself this season. Under the management of Rachel Busey Kir.solving, the choir appeared with its conductor, Hugh C. M. Ross, in concert at Orchestral Hall on Wednesday evening, February 21. The work of the organization is homogeneously good, and each department having been especially well trained responded to the conductor’s most minute demand. A first class leader, Mr. Ross knows exactly what he can get from his choristers and especially has he taught them the great difference between shouting and singing, as even in climaxes the tones produced by his men are of agreeable quality. In pianissimo passages, the work of the Winnipeg contingent may be equalled by some other organization, but surely cannot be surpassed. The choristers and soloists met with the full approval of a large and distinguished audience. Outside of the singing of the choir and the soloists, Alberto Salvi, the popular harpist, appeared as an added attraction. The oftener Salvi comes to Chicago, greater is his success with the public and the press, and after hearing him again on this occasion one well understands his hold on his hearers. To one who is not exactly fond of the harp as a solo instrument, Salvi, by his mag-
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CHICAGO HEARS CHALIAPIN PAY TRIBUTE
TO AMERICANS IN SPEECH FROM STAGE
Russian Basso Scores with Russian Opera Company in Boris—Organization Well Received—Florence Macbeth Proves Popularity as Concert Artist—Seidel Makes Fine Impression—Mabel Lyons Heard—Winnipeg Male Choir Arouses Enthusiasm—Father Finn and Lee Pattison for Gunn School—Yon “a Wizard of the Organ”—New Works Played by Orchestra—Other News
a distinct impression as a composer. His Pierrot, superbly rendered by the singer, was one of the most enjoyable contributions of the afternoon.
Toscha Seidel.
At the same hour, at Orchestra Hall, under the management of Wessels and Voegeli, Toscha Seidel gave a violin recital. Heard for the purpose of this review in the Mendelssohn ooncerto in E minor, the young and popular violinist proved himself again a master of the bow. In excellent form, he drew from his instrument a beautiful tone, played always on pitch and gave such a superb reading of the concerto as is seldom heard. The large audience was justly enthusiastic and a return engagement for this season is not at all improbable.
Mabel Lyons.
At the Playhouse, also under the management of F. Wight Neumann, appeared on Sunday, February 18, Mabel Lyons, who, this office was informed, is a pupil from the class of Howard Wells. At her debut the young lady demonstrated that she was well fitted pianistically, and though she played some selections better than others, she showed in each true reverence for the composer, excellent technical equipment and a certain originality all in her favor. A large and appreciative audience was on hand.
Russian Opera Company.
The first of its advertised four weeks’ season brought new encomiums for the Russian Opera Company and its distinguished personnel. The organization, hav' ig toured the country and having received lengthy review in the Musical Courier from other localities, the duty of this reporter is somewhat limited and in stating that the public reacted again in the favor of opera in Russian by applauding most generously the principals, choristers, orchestra, conductor and even the stage settings, giving the names of the operas seems sufficient at this time. The season was opened on Monday night with Pique Dame, with Ina Bourskaya as the principal attraction. The cast was a strong one and each participant well deserved the approval of the large audience.
On Tuesday evening Boris Godunoff gave one the first opportunity of hearing Chaliapin in that opera here. His success was as phenomenal as his acting, and the famous Russian lived up to his world renowned reputation in making the part stand out as a marvelous exhibition of intellectuality.
On Wednesday night, The Mermaid brought out several new singers whose association with the Russian Opera Company has well reinforced several departments which were weak when the same opera was presented last season at the Olympic Theater. Boris Godunoff, with the same cast heard earlier in the week, had its second hearing on Thursday evening, when Chaliapin again completely electrified the spectators. Carmen, with Bourskaya appearing in a role in which she has won much recognition in these surroundings, was given on Friday night.
The Saturday afternoon opera was the third performance of Boris and the week ended with a fine performance of The Czar’s Bride. A very successful Russian invasion that, let us hope, will have such big financial returns as to make it an annual event.
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Chicago, February 24.—On February 18 the Sunday recitals were less numerous than heretofore this .eason even though six of them attracted the attention of the music-lovers in general and three of them that of this reporter.
Florence Macbeth.
At the Studebaker Theater, under the management of F. Wight Neumann and for the benefit of the scholarship fund of the Gamma Chapter of the Sigma Alpha Iota Sorority, Florence Macbeth appeared, assisted by George Roberts, pianist and composer. Miss Macbeth’s popularity in this city has long been manifested by her many appearances in opera, and though she is heard here in recital too seldom, she is just as much admired on the concert platform as on the operatic stage. A mistress in program making, she had selected songs for every taste. Her first group included Handel’s What’s Sweeter than a New Blown Rose, and an old English Carol, Vesper Hymn, and Thrane’s Kum Kyra. Her second group was made up of the Shadow Song from Meyerbeer’s Dinorah, in which the flute obligato was played by Signor Covone. Her third group included Le The by Koechlin, Bemberg׳s Chant Hindu, and Villanelle by Dell’ Acqua. Her English group included Song of the Waiting One (MS.) by Strickland, Pierrot by Roberts, Sakura Blossoms by Ross, and Hayfields and Butterflies by Del Riego. Her concluding number was the aria, Ah, fors e lui from Traviata. A very satisfying artist and a very modest one, Miss Macbeth has a charming personality that has won her as many admirers as has the beauty of her song. She sang her program in a straightforward manner, enunciating the text as though it meant something to her and scored as big a hit with the songs as with the operatic arias. Her gown was original and attractive and she looked as regal to the eye as her song was to the ear. George Roberts supplied artistic accompaniments and played his solos beautifully. The young pianist also made
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