MUSICAL COURIER
March 29, 1923
44
the many beauties contained therein and displaying a fine,' resonant tone of delicacy and charm. Later he played Arnold Bax’s A Hill Tune, Beethoven’s Appassionata Sonata, a Chopin nocturne and etude, and Liszt’s Sixth Rhapsody.
Smetana Singing Society.
Presenting its annual performance of Smetana’s Bartered Bride, the Smetana Singing Society drew a large audience to the Studebaker Theater. An especially praiseworthy performance was given and earned the hearty approval of the listeners.
At Lyon & Healy Hall.
Olga Sapio, daughter of the prominent Romualdo Sapio and Clementine de Vere, the latter a former well known soprano, not like her illustrious parents, is a pianist. With Beatrice Horsbrugh, she presented a most interesting program of piano solos, and assisted Miss Horsbrugh in hei violin numbers.
Musicians’ Club of Women.
On Monday afternoon, March 19, members of the Musicians’ Club of Women were heard in an organ program. Those taking part were Frances Anne Cook, Helen Protheroe Axtell, Ruth S. Broughton, Mrs. Harvey I. Brewer, Mrs. Dwight C. Orcutt and Alice R. Deal.
Chicago Artists’ Association Program.
A most auspicious opening for the Chicago Artists’ Association program last Tuesday afternoon at the Fine Arts Recital Hall was the playing of Grace Welsh, the popular Chicago pianist. There was much to admire in Miss Welsh’s renditions of the Brahms ballade No. 3, Scriabin’s D ,sharp major etude and Chopin’s A flat waltz and C sharp minor scherzo, which brought into excellent display her fine pian-istic qualifications and won her genuine applause. Following Miss Welsh, Linda Sool, violinist, a product of the well known Leon Sametini studios, played beautifully the Delibes-Elman Passepied, Charles Dawes’ Melodie and Sarasate’s Zapateado. Her efforts were a credit not only to herself, but also to her prominent mentor. On the same program Laura Lee Randall, reader, and Rubee DeLamarter, soprano, appeared, but the writer could not stay to hear them.
Charles Wakefield Cadman a Visitor.
On his way to Detroit, where he and Princess Tsianina gave a program this week, Charles Wakefield Cadman stopped in Chicago long enough to pay this office a visit. As already announced in the Musical Courier, Mr. Cadman is hard at work on his new opera, Witch of Salem, and will return to Hollywood during the first part of April to finish it.
Trevisan in II Maestro Di Cappello.
Old fashioned Italian comic opera is to have another revival with Vittorio Trevisan of the Chicago Opera as the pivotal star of Paer’s II Maestro di Cappello (The Orchestra Conductor) when it is produced at Wood’s Theater, Sunday afternoon, April 8. Singing the other two roles are Mabel Sherwood, soprano, and Ludovico Olivieri, tenor of the Chicago Opera.
The opera, really in one act with two scenes, is a splendid display for the powers of an artist like Trevisan. It has to do with the ambitions of the orchestra master, Barnaba, who believes he has composed a world startling opera called Cleopatra. His very pretty young cook and general domestic factotem, Gertrude (Mabel Sherwood), is called in to sing certain parts of the soprano role, and especially the principal duet of the piece. She says she can’t sing in Italian, and makes all sorts of objections, but her kindly master, who is really in love with her besides, finally wins out.
But that does not happen until the end of the piece. In the meanwhile Barnaba and his nephew, Benetto (Olivieri), have a discussion about the impending war with the French (the scene is laid in Milan). The nephew leaves the room (he has come as a guest for supper), Gertrude goes to the kitchen to prepare the meal, and the maestro is left alone.
Then comes the big scene. He goes through his opera. He plays the score and sings all the parts by turns; he acts, he works it all out to his own great gratification, and he
HANS HESS
Master Cellist
Besides teaching in Chicago at the Fine Arts Building will hold Special Summer Classes in the art of Violoncello Playing at Highland Park, Illinois, beginning June Fourth. For terms, address
Management of HANS HESS
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CHICAGO HEARS JERITZA IN
CONCERT FOR FIRST TIME
Metropolitan Opera Singer Receives Ovation—London String Quartet Creates Favor—Raymond Havens Heard—Smetana Singing Society Gives Bartered Bride—Olga Sapio Pleases—Chicago Artists’ Association Presents Program—Cadman a Visitor—Other Events
is not part of Jeritza’s make-up. A tision of loveliness in a glistening cream gown matching her blonde tresses, the Viennese songstress presented an adorable picture, and her listeners fell in love with her before she sang one note. But with this visual attractiveness, she is also charming to the ear, whatever her errors of vocal technic may be. Mme. Jeritza does not resort to tricks to further cast her spell on her auditors; hers is the straightforward singing of a sincere, intellectual artist offering modestly her wares at face value and content to remain within her own realm of song. She sings the songs on her program as they should be sung, having at her command and under complete control a rich voice, full, round and powerful, refinement of style, superb diction and keen artistic intelligence. She charms one with her consummate artistry, and the sheer beauty of her song. For her first number she chose the aria, Divinities du Styx from Gluck’s Alceste, then Brahms’ So Clear Thine Eyes, Korngold’s Song of the Lute from his opera The Dead City, Richard Strauss’ E’er Since Thine Eye Toward Mine Was Wended, and Schumann’s Widmung, for her second group; for her third, Duparc’s Road to Rosemonde, Debussy’s Evening Fair, Beach’s Ah, Love But a Day, and Terry’s The Answer, and to close the program, the Suicidio aria from Ponchielli’s La Gioconda. Need we add that everything she did was so well liked by the audience as to bring forth salvos of plaudits at the close of each number and innumerable encores? One of the most delightful numbers she added was a little song, In the Dark, In the Dew, written especially for Mme. Jeritza by Wilfred Pelletier, of the Metropolitan Opera House. It proved a simple, very catchy number, which caught the audience’s fancy. Mme. Jeritza and the assisting violinist, Wiiiiam Wolski, had the able assistance of Walter Golde at the piano. As his share of the program, Mr. Wolski played numbers by Handel, Lully and Paganini.
London String Quartet.
With a new first violinist replacing their sick leader, the London String Quartet renewed its acquaintance with old friends and made many new ones with a most delightful program at the Blackstone Theater. Theirs is quartet playing of the sort which makes chamber music a practical artistic reality, and again they conquered with their superb renditions of the Mozart B flat, J. B. McEwen’s in A and Beethoven’s in C. The second named, new here, dedicated to the London String Quartet, was a most welcome novelty with its lilting rhythm and melody. Arthur Beckwith is the violinist who is temporarily replacing James Levey. The listeners could not but enthuse over the admirable performance offered, and responded with well merited and appreciative applause.
Raymond Havens.
Had Raymond Havens begun his program (announced, for 3:30) before 4:00 o’clock this writer probably could have remained longer than to hear only the Vivaldi D minor concerto and Respighi’s interesting Three Preludes on Gregorian Melodies, as duties elsewhere allowed only limited time for each recital. These, however, were sufficient to portray that in Mr. Havens’ piano playing there is definite purpose and keen intelligence, coupled with sympathetic understanding, splendid technic and enthusiasm. The Vivaldi concerto was admirably set forth, and in the Respighi preludes he accomplished some exquisite things, bringing out
VITTORIO TREVISAN
of Chicago Opera Association
VOCAL STUDIOS
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RATHAUS STR. 20, VIENNA, AUSTRIA
Chicago, March 24.—Although many concerts are now given throughout the week, Sunday still holds out as the most popular day for recital-givers, four, five and six—• sometimes more—vying with each other for public favor. For many reasons—chiefly the inability to secure a desirable hall or theater during the week—music-lovers here have formed the habit of going to concerts only on Sunday, and it may perhaps be difficult to break them of this custom when we do have our sadly needed concert hall. No less than five recitals or concerts demanded attention last Sunday afternoon, March 18, chief among them being that at the Auditorium—the initial appearance here of the much-heralded Maria Jeritza. There were also concerts at the Black-stone Theater by the London String Quartet, at the Playhouse by Raymond Havens, at the Studebaker Theater ,by the Smetana Singing Society and at Lyon & Healy Hall by Olga Sapio and Beatrice Horsbrugh. Two of these—Jeritza’s and Havens’—were managed by F. Wight Neumann; the London Quartet by Rachel Busey Kinsolving, and the joint recital at Lyon & Healy Hall by Harry Culbertson. The Smetana Society’s concert was under its own auspices.
Jeritza.
Few indeed have been the artists who have aroused such interest as to find a vast theater like the Auditorium here crowded to the last seat for a first appearance. This was Maria Jeritza’s experience last Sunday, when she made her initial bow in the Windy City. Interest to hear this artist has been keen since she leaped into fame at her sensational debut at the Metropolitan Opera House last season. A Jeritza recital announced for last season, but postponed until last Sunday, probably whetted Chicago’s curiosity the more, and a veritable ovation was accorded the songstress. What with all the publicity accorded Mme. Jeritza and her triumphal entree into America’s musical sphere, one would hardly expect to find such a timid, unaffected, unassuming person as is Mme. Jeritza, who seems to look with almost startled awe on her public. At least that was the impression she left on this auditor. Thus, those who looked for sensation must have been disappointed, for sensationalism
FRANCESCO DAriril
Of Chicago Opera Association E	J *TL B	B ^ A
Specialist in Voice Placing and Coaching for Opera, Stage and Recital
Studio: 720 Fine Arts Building Chicago, 111.	Harrison 5755
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