MUSICAL COURIER
April 5, 1923
Dusolina Giannini with Daniel Mayer
The audience which went to hear the concert of the Schola Cantorum at Carnegie Hall on the night of March 14 was given an unforgettable thrill. Owing to the indisposition of Anna Case, who had been announced as the soloist of the evening, a young Italian girl named Dusolina Giannini was substituted, with the result that she woke up the next morning to find to find herself truly in the limelight.
“Her name is Dusolina Giannini,” said Henry T. Finck in the New York Evening Post the next day. ,'.Like Mary Garden, who stepped from the chorus to the part of Louise, in Paris, at a few days’ notice, to the joy of the audience, a young Italian girl last night achieved fame at a bound by taking the place of Anna Case at the Carnegie Hall concert of the Schola Cantorum.” And the accounts of the other music critics were just as glowing.
Already Miss Giannini is in demand for concert and orchestral appearances for next season, and a tour is being arranged for her by Daniel Mayer, who will be the exclusive manager for the soprano. Miss Giannini, who has been studying voice for the past four years with Mme. Marcella Sembrich, her. only teacher, had not intended making her professional debut for another year. However, when Hulda Lashanska, a day before the Schola Cantorum concert, heard that Kurt Schindler required a singer to replace Miss Case, she suggested that he go to Mme. Sembrich’s studio and hear Miss Giannini. This Mr. Schindler did, and the engagement resulted. With only thirty-six hours’ notice, Miss Giannini prepared the difficult Italian numbers required of the soprano soloist, which consisted of a group of five Italian folksongs for soprano and women’s chorus, harmonized by Geni Sadero.
The young singer won her audience with her first notes. Prolonged applause followed her second number, A Cradle Song from Istria, and the third, Song of the Vintagers of Sicily, had to be repeated. At the end of the group, the singer was recalled again and again.
Dusolina Giannini was born in Philadelphia of Italian parents. Her father, Ferrucio Giannini, was a dramatic tenor of note in his younger days, and her mother, Antonetta Briglia, herself a violinist and pianist, was the first music instructor of each of her four children in turn. Eufemia, the elder sister, is the possessor of a beautiful lyric soprano and has studied in Italy and sung abroad, while a brother, Vittorio, though still only in his ’teens, has composed a Stabat Mater, which was performed in Philadelphia with fine success.
With such an interesting musical background, and a voice of truly magnificent power and rare beauty, there is little doubt that Miss Giannini has before her the prospect of a significant musical career. As the critics conceded, “she will bear watching.”
Two Festival Engagements for Whitehill
Clarence Whitehill, baritone of the Metropolitan Opera Company, will sing twice at the forthcoming May Festival in Cincinnati, taking part in The Elijah and The Children’s Crusade. May 19 Mr. Whitehill is booked for an appearance at the Ann Arbor Festival in Samson and Delilah.
are of inestimable value to the pupils and apparently they have made a hit with the public as well. When it is about time for one, we begin to get letters, not only from people living in this city, asking whether or not the concert will surely take place, but also from people living out in New Jersey, Long Island and further up in New York State.
A True Artist is Generous.
“Of course, there will be studio recitals, and in addition I like to have the pupils give programs at the Music School Settlement. It is good for them and gives pleasure to others. After all, a really true artist is generous with his talents, at least in my opinion. Then, too, I feel that it is not altogether a question of being generous in so far as the concerts are concerned, for in exchange they receive invaluable experience in public appearances. It gives them confidence so that they can be natural and give of their best in public.”
Certainly no La Forge-Berumen pupil can complain of lack of opportunity to obtain stage experience.
Practical Course in Accompanying.
“But to return to the summer school, I want to tell you about this course in accompanying. It is to be practical, for there will be a singer at all classes to practise with just as surely as there will be a piano to play upon. We are planning to do various song cycles in this connection, the Frauen-liebe und Leben of Schumann, Schubert’s Die schoene Muellerin, etc. The course is to consist of ten private lessons in accompanying with myself, ten private lessons in technic and piano with Mr. Berumen, and ten class lessons of two hours each where I have the assistance of Mr. Kraft and several other fine soloists who have signified their willingness to cooperate with me. There will be an arrangement made for those who desire to listen to the class lessons. I believe we shall do some splendid work in this way.”
Arranging Songs.
“And are you going to find time to do any more arranging of songs?” I asked having read in the Oakland Tribune a short time ago in connection with a recital of Florence Easton that “En Cuba, one of the Mexican group in which Mme. Easton’s shoulders could not quite be still, won a perfect volley of hand-claps,” and remembering the success of this same song on various occasions.
“I hope so, for I enjoy that work very much, and of course, in connection with these Mexican and Spanish songs I have had the splendid aid of Mr. Berumen. who knows the music of his country as well as anyone living.
“It would be a pity to neglect that work, also the program building.” And in passing it is worthy of comment that many well known artists have acknowledged the in.-calculable aid he has given them in this field.
But before he could tell me more, we were interrupted by a breathless young lady who explained that she had been held up by the subway so that her tardiness was unavoidable. And because I had been enjoying myself, I couldn’t really be anything but glad that the subway had shown itself true to type.	H. R. F.
16
FRANK LA FORGE AND THE
SIGNS OF THE TIMES
(Continued from page 12)
as Margaret Matzenauer and Florence Easton have sung her songs with marked success.
“Then there is Dwight Coy, the young pianist, who made such a fine impression at many of our Aeolian Hall Noonday Musicales and at the Town Hall last season. In addition to his practicing, he is also my assistant.”
“Oh, yes, 1 know Mr. Coy’s work. He is such an earnest young man, I’m sure he’ll succeed.”
The Conversion of Mme. Claussen.
“And there is Kathryn Kerin, who has been on tour with Mme. Claussen, and thereby hangs a tale.
“Mme. Claussen called me up., one day and said she needed an accompanist.
“‘I know just the one who will suit you,’ I replied, ‘and I will send her over to see you.’
“ ‘Her!’ and there was frank dismay in the voice. ‘Now, Mr. LaForge, I think I would prefer a man.’
“ ‘That is quite possible,’ I responded, ‘but won’t you try Miss Kerin anyway and then if you are not pleased, you don’t have to keep her.’
“At length I won her reluctant consent—and incidentally the battle, for after working with Miss Kerin, Mme. Claussen declared herself thoroughly satisfied and thanked me for sending Miss Kerin.”
And then he showed me an enthusiastic telegram he had received from St. Louis, signed Claussen and Kerin.
Another feminine pianist of whom he is very proud is Erin Ballard, who has given ample demonstration that she was worthy of his pride. She made a coast to coast tour with Mme. Matzenauer and afterwards was associated for several seasons as accompanist and soloist with Frances Alda.
Credit For Berumen.
“I give much credit to my distinguished associate, Ernesto Berumen, whom I consider a unique teacher. All of these young ladies have studied continuously with him as well as with myself, and he deserves the warmest praise for his large share in their work.”
“I’ve noticed with interest,” I mentioned, “the work of Lawrence Tibbett, baritone, who has appeared on your programs several times of late and whose genial personality and fine vocal work never fails to score.”
“Yes, isn’t he good? He is an actor, also, and was among those associated with Reginald Pole in his presentation of King Lear at the Earl Carroll Theater early in March. He made fine success and was accorded high recognition from the press.”
Aeolian Hall Concerts To Continue.
“Speaking of Aeolian Hall, I presume that series will soon come to a close, ■since the musical season is nearly over.”
“On the contrary, it has proven such a success that it has been decided to continue it during the summer. They
NEW YORK
“He received much applause.’ Telegraph.
Deutscher
BERLIN
“Real artistic finish.” -Reigsanzeiger.
PARIS
“Fine artist.”—Courrier Musical.
LONDON
“Nothing could have exceeded the beauty of his style.”—Telegraph.
PAULO GRUPPE
Violoncellist
“Internationally Recognized”
Photo by De Witt Ward.
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Photo by De Witt Ward.
CAMILLE PLASSCHAERT
Belgian Violiniste