rei, 29, 1923	MUSICAL COURIER
BARITONE
METROPOLITAN OPERA COMPANY
Voice of such excellent quality that he was recalled many times.
—Richard Aldrich, New York Times, February 4
Fine diction—a gift which is his in any language.—A. C., New York World, February 2 Admirable in the character of Amfortas.—H. E. Krehbiel, New York Tribune, December 9
Whitehill’s Amfortas remains a remarkable portrayal.
—G. Gabriel, New York Sun, December 9
WhitehilFs Athanael was very fine in its dignity, impressiveness, emotional power.—Richard Aldrich, New York Times, December 15.
ATHANAEL
Clarence Whitehill was a splendid Athanael. He gave the poignant suggestion of strength and fanatic purpose, with his baritone voice colored for every mood.—K. Spaeth, New York Evening Mail, Dec. 15.
Whitehill’s performance as Athanael was very fine in its dignity, its impressiveness, its emotional power, its suggestion of the victory of the flesh over the spirit; and it was sung with equal impressiveness.
—Richard Aldrich, New York Times, December 15.
Whitehill’s Athanael is an old friend. It is unnecessary, therefore, to say much about it. Good wine needs no bush. He sang well and his French, as usual, was a delight.•—W. J. Henderson, New York Herald, December 15.
AMFORTAS
Clarence Whitehill’s Amfortas remains a remarkable portrayal.
The ascetic anguish that his very repose carries home must communicate itself to the most unmystical, and is masterly indeed.—G. Gabriel,
New York Sun, December 9.
Whitehill is as admirable in the character of Amfortas, whether he sings in English or German, as he is in the Wotan of the German Walkiire—and every part that he essays to do.—H. E. Krehbiel, New
York Tribune, December 9.
Yesterday afternoon’s performance had its moments. Clarence Whitehill furnished many of them. His Amfortas remains one of the greatest impersonations in opera today, a figure of kingly beauty and heart-shaking pathos. He sang the role in a manner worthy of his acting.—Deems Taylor, New York World, December 9.
WOLFRAM
The opera will endure and comment on it may be reserved, and a note of patriotic pride be sounded because of the outstanding nobility and beauty of the Wolfram of the American, Whitehill.—H. E. Krehbiel, New York Tribune, February 2.
They might all, however, have learned useful lessons by attending to Mr. Whitehill’s style, the modulation of his voice, his denotement of tenderness, his phrasing, even his diction. He was, of course, the Wolfram as he has been for so many years.—Richard Aldrich, New York Times, February 2.
Clarence Whitehill as Wolfram was the true, faithful and sacrificing friend, acting and singing with extreme skill. Of course, the “hit” of the opera is his, the Song to the Evening Star.—Frank Warren,
New York World, February 2.
Whitehill (one of the latter’s few appearances without a beard) looked twenty years younger. The audience had no idea that Mr.
Whitehill was so handsome! As the disappointed Wolfram he sang as
CONCERT MANAGEMENT ARTHUR JUDSON
Fisk Building, New York 1317 Pennsylvania Building, Philadelph ia, Pa.
well as he looked, mid fine diction—a gift which is his in any language. A. C, New York World, February 2.
Mr. Whitehill’s Wolfram was admirable and his singing was a delight.—W. J. Henderson, New York Herald, February 2.
Mr. Whitehill sang with invariable art and intelligence, and his Wolfram was often more than a mere minnesinger.—G. Gabriel, New York Sun, February 2.
KURWENAL
But with all the array of foreign singers in this performance there was much to be proud of and grateful for in the well-remembered impersonation of Kurwenal by Mr. Whitehill, who upheld magnificently the credit of American art as he has so long and so often done it at the Metropolitan and elsewhere.—Richard Aldrich, New York Times, December 3.
WITH HANDEL AND HAYDN SOCIETY, BOSTON
To Mr. Whitehill, singing-actor of the Metropolitan Opera House, fell the speech of the commending priest and thè witness and the prayer of The Angel of the Agony. He declaimed with a flawless clarity, unerring vocal means and with the exalted passion which is the very spirit of Elgar’s music.—H. T. Parker, Boston Evening Transcript, February 12.
As regards diction, Whitehill was the most remarkable of the soloists. He employed consummate intelligence and economy of effort when he made his effects. It is not easy to imagine a more restrained and at the same time a more impressive delivery of the lines of the Angel of Agony.—Olin Downes, Boston Post, Feb. 12.
WITH BOSTON SYMPHONY ORCHESTRA
Clarence Whitehill sang the music of Wotan in the farewell and magic fire scene from The Valkyrie yesterday afternoon in the Wagner concert of the Boston Symphony Orchestra at Carnegie Hall,
New York. His voice was of such excellent quality that he was recalled many times. The audience was the largest which has attended a concert of the Boston organization this season.—Richard Aldrich, New York Times, February 14.
VICTOR RED SEAL RECORDS
ST EIN WAY PIANO