58
April 5, 192 3
MUSICAL COURIER
lowed with an aria from Catalani’s La Wally, Valverde’s florid Carnations and Mr. Curci’s Bouquet and Naples Will Sing Forevermore. The applause rewarding her efforts was due to the beauty in her tones and to the large measure of artistry in her singing.
Sundelius “A Vivacious Musetta”
Following- her singing of Musetta, in Bohème, at the Metropolitan on January 31, the New York critic commented as follows upon her essayai of the role :
Mme. Sundelius was a vivacious Musetta.—New York Tribune.
Marie Sundelius was a pretty, a peppery and a very lively Musetta. —New York World.
Mme. Sundelius was the Musetta and demonstrated that she could be a peppery young woman when she wished to.—New York Herald.
Marie Sundelius did some most creditable singing and acting as Musetta.—Herman Weil, New York Journal.
As Musetta Mrs. Sundelius was duly animated and vocally agreeable.—Pitts Sanborn, New York Globe.
Marie Sundelius came back to the Musetta which she has sung so well on other occasions.—Gilbert Gabriel, New York Sun.
Mme. Sundelius and Scotti added their well known artistic successes.—Katherine Spaeth, New York Mail.
James Westley White Gives Splendid Recital
Following his recital at Marion College, Marion, Va., the Democrat commented in part as follows on the singing of James )Westley White, of Greensboro, N. C.:
James Westley White, formerly of Boston, who has appeared in recital in many of the larger towns of this section, was received with great acclaim by an enthusiastic audience at Marion College, on Feb-iuary 9.
Mr. White’s big, deep tones, in the aria, O del min dolce Ardor, which he sang in a solemnly dignified and masterly manner, met with sympathetic response from the entire audience, which did not lapse throughout the evening.
The contrast of which Mr. White’s voice is so easily capable was evinced in the Cloths of Heaven, a most impressive song of the second group, in which his smooth mellow tones possessed a pure and exalted quality. The songs of the British Isles, the Schubert songs and the i'rench group were received with much applause and genuine appreciation. Mr. White־ was forced to repeat Si mes. vers avient des ailes, and My Little Banjo of the last group of varied songs, in which he showed extreme cleverness as an interpreter.
His diction was excellent in the English, French, German and Italian songs. Mr. White sings from his soul and with touching appeal. His dramatic ability, animated spirit, remarkable earnestness, and his exquisitely beautiful tones combine to lend to his style an unmistakable touch of distinction. It is not often that an audience is entirely satisfied with a concert, but it was the opinion of all who heal'd Mr. White on Friday evening that he is exceptional as an artist.
Franchetti Well Received
Aldo Franchetti, who is acting as conductor on tour with the San Carlo Opera Company, is meeting with much success, as the following will prove:
Aldo Franchetti was the conductor, and he did so well that he was called out with the principals.—New Orleans States, January 30, 1923.
In the orchestra we had Aldo Franchetti, a newcomer. He read his Puccini with refinement and respect. The orchestral patterings were well woven and tinted with fine pastels. It was not a reading fraught with fire and passion, but it was distinguished and balanced, and left large opportunities to those across the footlights.—Los Angeles Daily Times.
Mme. Sturkow-Ryder in Louisville (Ky).
Mme. Sturkow-Ryder’s recent appearance in Louisville (Ky.) gained for her the following press eulogies:
She is a pianist of high accomplishment, most intelligent reading, with a crisp and fluent touch.—Louisville (Ky.) Times.
Mme. Sturkow-Ryder is a pianist of more than ordinary power and style, and her solos were most enjoyable.—Louisville Herald.
HARRIOT EUDORA BARROWS
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The Secrets of Svengali
by
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OPINIONS OF THE PRESS
(Continued from page S3)
lie displayed unmistakable evidences of genius and memories of his wonderful performance on that occasion have been retained vividly by those who heard him. In consequence, his first Trenton audience was well represented at last evening’s concert.
In the two years that have elapsed since his appearance here N\iregyhazi has made substantial progress toward attaining the recognition to which he is entitled as a really great artist. He has advanced in power and in skill, and his work has taken on that thoroughly finished aspect that comes only with maturity.
In the playing of Nyiregyhazi there seems to be lacking no quality that should be possessed by a real master of the piano. It is distinguished by poetic sensibility, technical facility, a dynamic force and power, that are remarkable when it is considered that they are produced with so little apparent effort, and an uncanny ability to move his audience through sheer beauty and delicacy of tone.
Fabrizio Wins Praise from Reviewers
After his recent Boston recital in Jordan Hall, Carmine Fabrizio, the musicianly Italian violinist, won critical praise that was altogether notable. In the Boston Transcript, Warren Story Smith said:
In the past Mr. Fabrizio’s choice of numbers has praised him, and in making his list for last evening’s concert he again showed taste and discrimination. He played, for example, a sonata of Beethoven, and these sonatas are strangely neglected by violinists, who for such pieces turn mere often to Bach, to Handel, to Tartini. Nor did Mr.
CARMINE FABRIZIO
Fabrizio play the Kreutzer, apparently the only sonata of Beethoven to most fiddlers, but turned instead to the composer’s first efforts in the form. He selected the sonata in D major, opus 12, No. 1—despite certain artificialities, a charming composition. . . . After a sonata and a concerto Mr. Fabrizio would end his recital with music of a lighter sort. Yet he did not accept the first hackneyed show-piece or popular triviality that suggested itself, but rather cast his eye afield for material of fresh interest. Light, but with the lightness that charms, not the lightness that quickly surfeits, is Mr. Repper’s piquant, skilfully written Serenade Carnavalesque and the suave Intermezzo from Mr. Crist’s Javanese ballet, Pregiwa’s Marriage. Moreover, in playing these pieces Mr. Fabrizio brought to a hearing the music of deserving Americans. With them went the cosmopolitan Saint-Saëns turned Cuban in his graceful Havanaise and the seductive third Slavonic Dance of Dvorak, in Kreisler’s effective transcription. Only a rondino by Vieuxtemps, final number of the list, served as reminder of the hollow and meaningless music that makes so large a part of violin-literature and finds its way to so many programs. Yet this stuff, void as it is of musical interest, is essentially idiomatic. It gives the violinist that which the pianist finds in the music of Chopin and of Liszt. And last evening in this rondino Mr. Fabrizio had opportunity for a particular sort of effect that he had not had elsewhere in the concert. . .	. Since his last recital here Mr. Fabrizio has made
progress. He now acquits himself well in music of many schools and styles,, and with the skilled assistance of Mr. de Voto, gave a musicianly performance of the sonata—a task of no mean order.
R. R. Gardner, in the Boston Herald, said:
Mr. Fabrizio showed himself possessed of a beautiful technic, one, at all events, that gives him command of warm, sweet tone and a fine, neat fleetness in passages. The evening long Mr. Fabrizio played with musicianly taste, and in the concerto with some warmth.
Stuart Mason, in the Christian Science Monitor, declared that:
Mr. Fabrizio played it (Zondanai’s concerto) sympathetically, with a due understanding of its content, with virtuosity when virtuosity was called for by the music, with refinement of expression .... played the music for its own sake with no attempt to make it serve the purpose of personal display.
Other comment was as follows:
Fabrizio, one of the finest artists of the day, knows how to pick and choose his program so that it will have popular as well as musical appeal. In other words, he plays to the masses.—Boston Telegram.
He has in reflective passages a fine singing tone, his intonation is excellent, and his work on the upper register of the G string was a revelation.—Boston Post.
Carmine Fabrizio .... gave a recital last night at Jordan Hall to a large and applausive audience. . . . Mr. Fabrizio is an unusually capable violinist.—Boston Globe.
Curci Pupil Scores in Newark
On March 1, at the Temple Assembly Hall of Newark, N. J., Renata Flondina, a pupil of Gennaro Mario Curci, appeared with marked success on a program of the Women's Association. Accompanied by Mr. Curci, the talented young singer first was heard in the Vissi D’Arte from La Tosca, Puccini, and later in an aria from La Wally, Catalan¡, and Mr. Curci’s own song, Naples Will Sing Forevermore, which was given by request.
In commenting upon Miss Flondina’s success, the critic of the Newark Evening News said:
In Miss Flondina the audience was introduced to a young and talented singer, who with continued study should go far in realizing whatever ambition she has for a musical career. Her voice is wide in range; is bright, pure and musical in quality; is voluminous when she exerts its full power, and has been well schooled. Her tones have been so correctly placed that they are emitted freely and firmly. So obedient are they to the intentions of the singer that they readily respond no matter whether the song she essays calls for dramatic and emotional expression or is of a simple character in its lyric contents.
Miss Flondina also has acquired a style in singing that helps to ingratiate her with discriminating hearers. She introduced herself by means of the Vissi d’Arte air in Puccini’s La Tosca, which she fol-
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artists. Studios: 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8557
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