44 March 8, 1 923 is here mentioned, as if it were otherwise, all the space given the Chicago letter would not be sufficient to sing the praise of the management, principals, conductors, chorus, orchestra, stage manager and all those responsible for the success of the enterprise. The Russian Opera Company has its raison d’etre. It is a worthy organization, one that gives fully one hundred and fifty cents on the dollar and, presenting many novelties in a capable manner, its visits to this city are doubly interesting. During the week several out-of-town local managers came to Chicago with the sole desire of hearing the Russian Opera before engaging it to appear under their management in their own locality. Of those managers, only two were encountered by the writer—Elizabeth Cueny of St. Louis and Marion Andrews of Milwaukee—who, both enthusiastic, have already secured the company for a few performances in their home towns and Miss Andrews even going out of her own city to present it in Racine and Green Bay (Wis.) at the close of the Chicago season. Chaliapin repeated his Boris Godunoff on Monday night and gave his farewell performance on Friday. His appearances in Chicago this year, though numerous, have not been half as many as his popularity deserves. The more you hear Chaliapin, the more desirous you are to hear him again, either in concert or opera. On Tuesday night, Eugene Onegin, the tuneful opera of Tschaikowsky, was given with a superb cast. Chicago heard this opera last year and found it one of the most enjoyable in the Russian repertory. On Wednesday night, Christmas Eve (Tschaikowsky) had a fine presentation and was listened to by a large and appreciative audience. Snow Maiden was given for the first time this season on Thursday evening. Friday, as stated above, Boris, for the farewell of Chaliapin with the opera for the season, with the cast of previous performances, held the boards. Saturday matinee was given to the second performance of La Juive, repeated by request. Haydn Choral Society. The Haydn Choral Society, directed by Haydn Owens, assisted by Burton Thatcher, baritone; Margaret Owens, soprano, and Kenneth Fiske, violinist, delivered a diversified HAYDN OWENS program of chorals and solos with fine effect at Kimball Hall, Tuesday evening, February 27. The choral numbers heard by this writer were well sung and enthusiastically applauded by the well filled house. They included Handel’s Then Round About the Starry Throne (from Samson), Fanning’s Song of the Vikings, Arensky’s Serenade, Tschai-kowsky’s Cherubim Song, and Grieg’s Land Sighting. The Haydn Society and its conductor, Mr. Owens, well known to Chicago music lovers, maintained • its usual standard of excellence, providing an enjoyable evening. Ruth Draper in Series. Rachel Busey Kinsolving is presenting Ruth Draper in a series of interesting programs of character sketches at the beautiful new Harris Theater. The programs this week were greatly enjoyed by large and enthusiastic audiences on February 27 and March 1. Her last appearances will lie on March 4 and 6. Isa Kremer Again. For the third time this season, Isa Kremer, the clever balladist, practically filled Orchestra Hall, on Wednesday CHICAGO COLLEGE OF MUSIC Esther Harris Dna, President A. G. Dua, Mgr. Mark Oster—member Chicago Civic Opera—Voice Culture, Dramatic Opera Coach. 1234 KIMBALL HALL MacBURNEY Full Stage Experience \/ O ¥ i-1 ■h ' Each Week » V-F 1 Ei 608-609 Fine Arts Building. Chicago Phone. 8988 Wabash M TENOR Management Samuel D. Selwitz 1512 S. Trumball Ave., Chicago ^22 COLLINS CHICAGO MUSICAL COLLEGE Exclusive Management: Fulcher & Bohan, McCormick Bldg., Chicago Chicago PIANIST Columbia School of Music MUSICAL COURIER CHICAGO HAS WEEK OF INTERESTING MUSICAL EVENTS Rachmaninoff and Hofmann in Only Recital of Season—Apollo Club Gives Bach’s B Minor Mass—Russian Opera Continues to Draw—Chaliapin’s Farewell in Boris—Haydn Choral Society Gives Fine Program—Ruth Draper Series— Isa Kremer Again Pleases—Chicago’s New Hall—S. of A. M. Contest, March 12—Opera in Our Language Foundation Gives Cavalleria Again—Sevcik’s Services in Demand—Other News Apollo Musical Club in a manner well nigh perfect, in fact, exceeding in tonal effect, grandeur and balance, vim and musical verve any production of it ever heard in this city. The tout ensemble, consisting of the full chorus, Chicago Symphony Orchestra, soloists, Edgar Nelson, organist, and the able conductor, Harrison M. Wild, will accept this opinion as reflecting that of the capacity house, which left the hall with unbounded enthusiasm, having listened to the rendition of each succeeding chorus with increasing joy and musical excitement as each was heard and finished until the grand climax at the end. All of the soloists gave a very good account of themselves. They included Else Harthan Arendt, soprano; Merle Alcock, contralto; Arthur Board-man, tenor; Herbert Gould, bass. The soprano solos were admirably delivered by Mme. Arendt, with clearness of tone and musical understanding. Her lovely soprano rang clear and true and she deserved the hearty applause the audience awarded her. More beautiful singing than Merle Alcock set forth in the contralto part could not be imagined. She knows how oratorio should be sung and has the wherewithal to give it the required rendition. The bass solos were entrusted to Herbert Gould, one of the finest bassos in the land. There was authority and dignity in his delivery of the difficult music and he scored a huge and well deserved success. Edgar Nelson proved a master at the organ, as he does in everything he undertakes. Long life to the Apollo Club and its very masterly conductor, Harrison M. Wild! Both have accomplished something to be long remembered, but this is not the end— even greater things will follow. It is an organization of which Chicago should be very proud. Josef Hofmann. On his way to California, Josef Hofmann stopped long enough here to give, on Tuesday afternoon, February 27, a Chopin recital at the Studebaker Theater, under the direction of F. Wight Neumann. This, by the way, was announced as Hofmann’s only appearance in recital here. Hofmann is another pianist who has been accused by the masses of being the greatest pianist in the world, and in his case, as well as in that of all the great pianists, the superlative title does not add or detract an iota from the enjoyment true music-lovers derive from their playing. Hofmann’s playing seemed a bit cold, otherwise his Chopin program would have received a perfect interpretation, and this, in itself, is sufficient to attest anew that his success was complete, and that the Chopin outputs contained on his program were all admirably rendered. Russian Opera. Operas never before performed in Chicago were given during the week by the Russian Grand Opera Company. This was the second of the four weeks’ season of the organization at the Auditorium. On Sunday night, February 25, The Jewess had its first hearing here in Russian. The cast included Nina Gusieva, Zina Ivanova, Nicolai Busanowski, Vladimir Svetloff, David Tulchinoff and Gabriel Hrjanowsky; Victor Vasilieff conducted. So great an impression did the Russian Company make in the Halevy opera that, owing to the flood of requests at the box-office following the presentation on Sunday, the same opera is scheduled to be repeated on several occasions during the balance of the season. The work of the Russian Opera Company’s singers has often been reviewed in the Musical Courier and due to that reason only a summary of the week’s happenings VITTORIO TREVISAN of Chicago Opera Aaaoelatlon VOCAL STUDIOS 428 Fine Arts Building, CHICAGO, ILL. (NICOLAY t 1־“■“— ^ Basso for twelve consecutive seasons with Chicago T Ojjera Co., now free to accept dates. For further information Address: AMERICAN EXPRESS, PARIS, FRANCE Jessie CHRISTIAN Cnni