45
March 22, 1923
training, both musically and dramatically. The scenes performed were from Martha, Tales of Hoffman, and Butterfly. One part of the program consisted of violin solos, artistically performed by pupils of Herbert Butler.
Russian Opera's Last Week.
The Russian Opera Company will conclude its four weeks’ stay at the Auditorium Theater tomorrow, with a performance of Night of Love, which was given four times during the week. Other popular operas already presented by the competent company brought out many devotees of opera during the week, many of whom had to cancel their reservations due to the inclemency of the weather. It has been stated that the Russian׳ management has launched a campaign for a guarantee fund of some $100,000 for next year s season. In view of the fact that the present one, artistically speaking, surpassed all expectations, the fund should be oversubscribed in a very short while, thus assuring the annual return of a very worthy organization.
The Symphony Program.
The twenty-third program of the Chicago Symphony Orchestra, presented by Frederick Stock to the numerous patrons which weekly pack Orchestra Hall on Friday afternoon and Saturday evening, consisted of Bach’s suite No. 4, D major; tone poem, Christ and the Blind Man, by the American, Spelman, and the work of another American Hadley, whose tone poem, The Ocean, concluded the first part of the program. The soloist of the day was Paul Bender, baritone of the Metropolitan Opera, who was heard in the Hans Sachs’ Monologue from The Meister-singers and Wotan’s Farewell from ;Wagner’s Walkiire.
Bolm Re-Engaged by Chicago Opera.
No better news could enamate from the Auditorium Theater to lovers of the ballet than that Adolph Bolm has been signed for two more seasons. This means that the splendid beginning he made this year to establish new ballet standards at the opera will be further developed I he repertory now being planned is said to contain much more opportunity for effective ballet features than was the case this last season.
Classes at the Bolm School are arranged for professionals,
(Continued on page 49)
Beethoven
Trio
M. JENNETTE LOUDON Piano
RALPH MICHAELIS Violin
THEODORE DU MOULIN
Cello
“The Beethoven Trio, an organization that has solved the problem of playing chamber music in an atmosphere of informal comfort.”
—Chicago Tribune, Feb. 12, 1923.
“. . . . They achieve one of the most interesting and satisfying ensembles heard in the city and that the quality of their work is of unchanged excellence.”
—Chicago American, Feb. 12, 1923.
“The audience evidently enjoyed their selections.”
—Chicago Daily News, Feb. 12, 1923.
“The Beethoven music had crispness and variety, and the players caught the sprightly note and filled the performance with it.”
—Chicago Journal, Feb. 12, 1923.
“They played two charming numbers by Goossens—with appreciation for the music and excellent ensemble.”
—Chicago Eve. Post, Feb. 12, 1923.
For Dates and Terms Apply M.JENNETTE LOUDON
430 Fine Arts Building, Chicago, 111.
MUSICAL COURIER
bigness of her organ did not in any way impair its agility. She gave a truly delightful reading to the difficult excerpt and made a deep impression on her many hearers, who showed their keen enjoyment by the spontaneity of their plaudits. Ruth Heizer, her talented pupil and protegee, supplied accompaniments for the Rimsky-Korsakoff number. The many friends of Mme. Butler will be pleased to hear through this department exclusively that next fall she will give a song recital at the Blackstone Theater, under the direction of Rachel Busey Kinsolving.
A High Standard of Excellence.
The contest for young artists at Orchestra Hall, March 12, drew a very large and enthusiastic audience and proved an event in every way worthy, as the participants gave a good account of themselves. The winners in each of the three departments—voice, violin and piano—are to appear as soloists with the Chicago Symphony Orchestra at the popular concerts of March 22 and April 12.
The violin test number was Bruch’s concerto, No. 1, G minor. Nesta Smith, the winner, pupil of Herbert Butler of the American Conservatory, played with unusual aplomb and exactitude, with a large firm, natural, colorful tone and requisite technic. The winner in thé voice contest, George G. Smith, baritone, pupil of E. Warren K. Howe of the American Conservatory, sang the prologue from Pagliacci (Leoncavallo) with a voice of good calibre and timbre, observed pitch and has much assurance. The test for piano was the Saint-Saëns concerto No. 2, G minor, and the winner was Margaret Farr, pupil of Walter Spry, of the Columbia School; she produced a full, round and warm tone and played with aplomb, with unusual power and clear technic, her tone coloring being marked.
The tribunal of judges were Eric De Lamarter, assistant conductor of the Chicago Symphony Orchestra; Arthur Shattuck, well known pianist, and Frank H. Shaw, director of the School of Music of Cornell College, Mt. Vernon, Iowa. All contestants set a high standard of excellence by their commendable work.
Another “First Time” Opera.
II Maestro di Cappella, a one-act opera comique by Paer, will be produced for the first time in America, Sunday afternoon, April 8, at Woods Theater.
Carrying the leading role will be Vittorio Trevisan, one of the most popular artists of the Chicago Opera, the part of the concertmaster ■being one admirably suited to his inimitable powers. The two other roles will be sung by Lodovico Oliviero, also of the Chicago Opera, and Mabel Sherwood. Isaac Van Grove will be at the piano.
Chicago Musical College Opera Performance.
The Chicago Musical College School of Opera gave a performance of the second and third acts of Bizet’s Carmen and of Wolf-Ferarri’s The Secret of Susanne at Central Theater, Sunday afternoon. The foliowing were the cast that interpreted the works:
CARMEN
Acts II and III
................................Lucille Howard
..................................Ann Leonard
................................Evelyn Martha
...............................Annette	Hoffman
...............................Kennard	Barradell
...............................Edouard	Dufresne
....................................John Burns
.................................Louis Jacobson
................................Howard Upstill
THE SECRET OF SUSANNE
....................................Olga Gates
................................Edward	Dufresne
....................................John Burns
Carmen.......
Micaela......
Frasquita . . . Mercedes ....
Don Jose.....
Escamillo
Zuniga ......
El Dancairo . El Remendado
Susanne . Count Gil Sante .. .
In the performance of Carmen six students of Mme. Ruth Austin—Harriet Berkowitz, Evelyn Lesser, Jane Field, Violet Sellers, La Vina Spellman and Margaret Thasky— performed the dance in the second act.
Mark Love, student of Dr. Fery Lulek, has been engaged to sing at McVicker’s Theater. Dorothy Kendrick, student of Edward Collins, was soloist at the Rogers Park Kiwanis Club March 7. Students of Elsie Barge gave a recital in the Recital Hall, Steinway Hall, Friday evening. Marie Herron, student of Mrs. Gannon, gave her recital at Fine Arts Recital Hall March 15. A character costume recital will be given April 6 by students of Mme. Howatt, of the School of Expression, assisted by vocal students of Mrs Cutter.
Marcel Dupre Scores Again.
Duplicating his former huge success in Chicago, Marcel Dupre, the prominent French organist, gave the second recital in the series at the First Presbyterian Church Saturday evening. Already Mr. Dupre has a host of admirers here and their reception on this occasion was an assurance of the esteem in which he is held.
Olivet Institute Benefit Concert.
A concert for the benefit of Olivet Institute Music ■School 1“״.	S1»׳׳״ at the residence of Mrs. Frederick Countiss,
1524 Lake Shore Drive, Tuesday afternoon, April 3. Myrna Shadow, formerly of the Chicago Opera, will sing and WIjhAe,r ?? the Prograiu will be Florence Trumbull, pianist, and Del Messier, the talented young violinist. The concert given last spring for the same cause netted a large sum, and it is expected that this year’s concert will repeat that׳ sue-cess. Isaac Van Grove will be the accompanist.
American Conservatory News.
Advanced piano and voice pupils appeared in recital at Kimball Hall March 17. Some twetve students took part, reflecting the splendid training received.
Tj^Krpub,!ic,׳,cont<;st °f young artists held at Orchestra Hall March 12, under the auspices of the American Society ot Musicians, resulted favorably for the American Conservatory, two of three contestants being selected by the board of adjudicators, namely: Nesta Smith, violinist, pupil 21 Herbert	and George G. Smith, baritone, pupil of
E. Warren K. Howe These will appear at one of the next popular concerts of the Chicago Symphony Orchestra, under the direction of Frederick Stock.
The Public School Music Department of the American Conservatory is planning a most extensive program of courses this coming summer. In addition to regular first and second year courses, there will he special postgraduate classes,_ under the direction of George H. Gartlan, director of music m the public schools of New York City, ¿nd other educators of eminence. Gustave Dunkelberger, pianist
Henlot i"eyy, head of the piano depart-ment of the Oregon Agricultural School, Corvallis, Oregon Elaine DeSellem presented some of the members of her °Pera ClaSs in short scenes from standard operas last Saturday at Kimball Hall. Their performance demonstrated fine
nearly all of the leading instructors. Among those who will teach during the summer and who have arranged short courses especially designed to meet the requirements of those attending Summer School are Clare Osborne Reed, director; George Nelson Holt and Louise St. John Wester-velt, assistant directors of the school and leading members of the voice faculty; Ludwig Becker, George Dasch and William Montelius, of the violin department; Adolf Brune, head of the theory department; Mary Strawn Vernon, principal of the public school music department, and Ann Trimingham, assistant principal; William Hill and Arthur Oglesbee, members of the advisory board and of the piano faculty; Kathleen Air, specialist in child training; Pearl Barker, ■specializing in keyboard harmony, and Ann Larkin, dramatic art.
Rosing in Recital.
For the benefit of the Chicago Osteopathic Hospital, at Orchestra Hall, Rosing appeared on Wednesday evening, March 14. The unique artist was assisted by Gavin Williamson, the young and successful accompanist. Though the weather was most inclement, the house, which otherwise would have been sold out, held nevertheless a big throng and the profits are ■said to have reached the sum of $2,000. Rosing, as already mentioned above, is a unique artist—unique in that everything he does has a touch of originality. Though the possessor of a beautiful organ, he does not score through the sheer beauty of his voice alone, but for his use of it in giving to the songs he interprets a certain original flavor that makes his recital unusually interesting. A great part of his contributions were Russian and in them he had full sway to show all his vocal and interpretive equipment. Some of the songs had poetic interpretations, such as The Farewell from Eugene Onegin; others had dramatic readings, such as the Two Grenadiers; in some, like The Goat, he showed unmistakably a keen sense of humor. Rosing’s well balanced program was so well built as to make the best contrast between the gloomy songs and the happy ones. The tenor was warmly feted, and justly so, and was superbly seconded at the piano by Mr. Williamson.
Opera in Our Language Foundation.
Again Cavalleria Rusticana was given at the Playhouse, on Thursday afternoon, March 15, under the auspices of the Opera in Our Language Foundation. The young organization is steadily making progress, as this performance of Cavalleria showed marked improvement on other hearings of the same opera under the same auspices. The principal attraction was the singing of Turiddu by the veteran tenor, Joseph F. Sheehan, one of the strongest advocates opera in our language has ever had. Sheehan could have made big money for himself only by learning operas in the langauge in which they were written, but long ago he believed that opera should be sung in America in English and he and others who believed likewise barnstormed the country, making here some money, losing it elsewhere, but always making a little dent in the foreign languages used by the great opera companies of this country. Hearing Sheehan on Thursday afternoon, one formulated the opinion that if all the American singers could enunciate English as well as he does, opera in our language would have been unanimously adopted long ago, as each word he projected was made understandable. The balance of the cast was adequate and from an humble beginning, the Opera in Our Language Foundation may grow to one of the big institutions in the country.
Lakeview Musical Society.
The Lakeview Musical Society presented last Monday afternoon, March 12, at the Parkway Hotel, the Little Symphony of Chicago and Hanna Butler, soprano. Mme. Butler sang the aria Depuis le jour from Charpentier’s Louise in a most artistic fashion. Since last heard by this reporter, a year or so ago, her voice has taken on volume in all registers. She enunciated the French text as though she were a native French woman and each tone had a belllike quality. Heard also in the Rimsky-Korsakoff Hymn to the Sun, from Coq D’Or, she demonstrated that the
IN CONCEPT
PHILIP MANUEL־ ־ ■ GAVIN WILLIAMSON
PHILIP MANUEL	GAVIN WILLIAMSON
Lyric Tenor	Accompanist
STUDIO:	421 FINE ARTS BLDG., CHICAGO
Management:
Harrison and Harshbarger, 1 71 7 Kimball Bldg. Chicago