MUSICAL COURIER
38
SUCCESSFUL OPERA SEASON IN BARCELONA
Charles Hackett Wins Notable Successes—Mona Lisa Conducted by Composer
March 29, 1923
Harry M. Gilbert and Francis Moore, pianists. The guests of honor were Mr. and Mrs. William Wade Hinshaw, Mr. and Mrs. Sidney Homer, Elly Ney and Willem van Hoog-straten.
Leman Conducts Opera
Orpheus and Eurydice by Gluck was presented to the Philadelphia public by the Philadelphia Music Club, Mrs. Edwin A. Watrous, president, March IS, in the Bellevue-Stratford. The cast included Veronica Sweigart as Orpheus, Cora Frye as Eurydice, Dorothy Fox as Amore, and a chorus and the Women’s Symphony Orchestra of Philadelphia, which is an adjunct to the club. J. W. F. Leman conducted. The stage direction was under the supervision of Edith Pusey and the ballet under Caroline Littlefield.
Tenor Rosanow Arrives
A. I. Rosanow, Russian tenor, has recently arrived in the United States. He has sung in opera in Russia, Germany, Italy, Spain and South America wtih such illustrious partners as Chaliapin, Titta Ruffo, Tetrazzini, Litvinne, etc.; he was also professor of singing in the Moscow Institute of Music, and also in Berlin. Mr. Rosanow’s appearance in this city is awaited with interest. He is also connected with the Malkin Conservatory of Music, where he will teach a limited number of pupils.
Edna Thomas on Tour
Edna Thomas, mezzo-contralto, is now on tour with the Grilles Group. Just before she left for these concerts, she had an unusual success at her second recital at the Belmont Theater here. Many persons wanting to buy seats were unable to get in, and even standing room was at capacity.
The third concert by Miss Thomas is announced for Sunday evening, April 1, at one of the Selwyn Theaters, to be announced later.
Warren Shaw Artists in Demand
Marguerite Crowell Barr, contralto of St. Stephen’s Episcopal Church, Philadelphia, is filling the following engagements this week: March 19, York Road Choral; March 21, Review Club of Oak Lane; March 22, recital in York, Pa. She was engaged as soloist for the Dvorak Stabat Mater and The Messiah at St. Luke’s and the Epiphany in Philadelphia, and will broadcast from the Strawbridge & Clothier radio station.
Jeanne Gordon for Festivals
Jeanne Gordon, Metropolitan Opera mezzo-soprano, will open her spring concert tour on April 25 at Newark, where she will sing at the music festival there. Others appearing on the Newark program will be Paderewski, Heifetz and Florence Macbeth. In Springfield, Mass., on May 4, and in Ann Arbor, Mich., on May 19, Miss Gordon will appear in the concert form of Saint-Saëns’ Samson et Dalila, singing the role of Dalila.
this, however, and abruptly refused to continue the performance, announcing at the same time that she would never sing in Barcelona again. This occurrence was not only unpleasant in itself, but deprived us again of hearing Mari-enela, which would have been the third Spanish opera this season; but since it is already announced for the early part of next season, Barcelona is still hopeful.
London String Quartet Plays Goossens.
The London String Quartet paid us another visit and as usual delighted lovers of chamber music by its faultless interpretations. Its excellence in classical works is well known, but on this occasion the quartet offered two works new to Barcelona, namely, On the Lake and Jack o’ Lantern, by Eugene Goossens, which are to be recommended for their delicate melodic line, harmonic daring, without, however, exhibiting any extravagances in the technical structure.
Little Interest in Casals’ Orchestra.
Little interest has been aroused this season by the Casals concerts, particularly owing to the absence of any modern works from the programs. The ambition of the association is commendable, however, and if Casals would give it more of his attention it would become a first-class orchestra.
Among the soloists Vera Janacopulos, the well known lieder singer, has given two interesting recitals in which gems by Mozart, Schumann, Moussourgsky, Rimsky-Korsa-koff, Debussy, etc., were delightfully interpreted. She is becoming a more important figure every day.
TomAs Orts Climent.
Bos to Be in New York This Summer
Owing to the many concert engagements on tour as accompanist for Frieda Hempel, Coenraad V. Bos has not been heard this winter in New York as much as his many admirers in the metropolis might wish. He left New York January 18 for a tour with Hempel which took him through Texas, the Middle West, Colorado, etc. He is in New York now, however, and will remain there until April 1 and will be available as accompanist. The entire month of April he again will be on tour with Hempel.
Mr. Bos will not go to Europe this summer. He will be in New York and will devote his time to coaching at the Harding Hotel.
Musicians’ Club Reception
Mr. and Mrs. Ernest T. Carter gave a reception and mu-sicale to members of the Musicians’ Club and their friends at their residence, 115 East 69th Street, on Sunday afternoon, March 25. A numerous distinguished company was present, many of the leading musical lights of New York being recognized, and an interesting program was rendered by Louise Hubbard, soprano; Emma Brett Selleck, contralto ; Harvey Hindermyer, tenor; Fred Patton, baritone;
Barcelona, March 3.—The opera season just closed has been interesting in every respect, since the performances have been varied and artistic, though some regret has been felt that none of the ultramodern novelties, already attracting attention in other countries, have been heard here.
A most notable success was that of the American tenor, Charles Hackett, the first great American tenor ever heard in Barcelona. A voice of large volume, great flexibility, and splendid schooling besides histrionic ability of more than average excellence, are outstanding characteristics of his art. His reception by the people, especially as Des Grieux in Massenet’s Manon, and as Almaviva in Rossini’s Barber, was genuinely enthusiastic. Hipolito Lazaro, the tenor, devoted his gifts to the service of Spanish music. In Breton’s La Dolores, and Arrieta’s Marina—both popular works in Spain—he again endeared himself to the hearts of the people. Marina, a work which for the past fifty years has been famous as a debut opera for tenors, seemed to take on new life with Lazaro, and the impression he made in the leading role was most unusual.
Koussevitzky and Schillings Conduct.
Koussevitzky and his Russian artists are now almost an integral part of Barcelona music life, as there is scarcely a season when they do not appear. Their latest offering, Borodine’s Prince Igor, heard here for the first time, met with a tremendous success, due not only to the splendid work of the cast, but also to the skill of Koussevitzky, whose reading of the score was replete with plasticity, color and rhythm. The climax of the evening was the Polvetz dances, which had to be repeated amidst the most frantic applause.
Another novelty was Max von Schillings’ Mona Lisa, which had the distinction of being conducted by the composer himself. The work is not lacking in inspiration and is well constructed, but in spite of these virtues was coolly received by the audience which, nevertheless, was extremely courteous to the composer-conductor.
As in former seasons, we have also had performances by other German artists from the Cologne and other opera houses. This time, under the guidance of Dr. Fritz Stiedry of Berlin, they offered rather ordinary performances of Tristan and Die Meistersinger ; but, on the other hand, their interpretation of Mozart’s Figaro, which has not been heard here for many years, was delightful.
Naughty Prima Donna Prevents Performance.
For the third time, the première of the Spanish opera, Marienela, by Pahissa, has been put off. Performances announced on two previous occasions had to be called off as the score and parts had not been finished in time. When finally everything was ready, Rosina Storchio, who was to have sung the title role in Spanish, at the last moment insisted on appearing in Boheme instead, the role of Mimi being one of her greatest triumphs in the past. The public could not forgive her for this caprice end received her with marked coolness. Signorina Storchio would have none of
SASCHA
JACOBSEN
Violinist
ONE OF THE FOREMOST OF THE YOUNGER GENERATION OF VIOLINISTS —W. J. Henderson of The New York Herald.
We question whether any one of the very few older virtuosos of great reputation, into rivalry with whom his performance admitted him, could have disclosed deeper penetration into the soul of the work. His tone was also as large and noble as that of the best of them.	—H. E. Krehbiel of The New York Tribune.
Such artistic poise, repose and concentration are rarely found in one of his age—already his reputation is made.
—Max Smith of the New York American.
He had played but a few phrases yesterday when it was apparent that an artist to be reckoned with was on the stage.
—Boston Herald.
Now under the Exclusive Management of
DANIEL MAYER
Aeolian Hall	New York
This work alone might well be Sascha Jacobsen’s passport to COLUMBIA RECORDS EXCLUSIVELY	artistic rank.	—Boston Advertiser.