April 12, 1923
32
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance.—Editor’s Note.]
Der Freischütz, March 21
Herald,
The representation will probably not take its place as one of the. best given by the visiting company.
World
Freischütz is an opera which everyone should hear once for his education. Last night there were few reasons why anyone should hear it twice.
German Opera Company,
Evening Post
The performanc e as a whole will be remembered as one of the very best of the company’s seven-week season.
Evening Post
If the five or six million people of this metropolis could be made to realize what a treat they could enjoy at the Lexington, Weber’s opera could be put on for a run of several months. Often have I heard the Freischutz, abroad and at home; but never have I enjoyed it more than I did last night.
Friends of Music, March 25
Times	Sun
The chorus sang with a fine	The voices themselves, how-
volume and quality of tone.	ever, seemed yesterday to lack
quality.
Barbara Kemp, Soprano, in Lohengrin, March 26
Globe	Herald
Barbara Kemp . . . used her But with the music she had had lovely voice with full artistry.	an uncomfortable evening. Trem-
ulous and broken tones and manifestations of laborious effort were continuous.
Dorsey Whittington, Pianist, March 26
World	Herald
Mr. Whittington further dis-	His rhythm was not always
played .... fine rhythmic feel* regular.
mg.
Tribune	Telegram
Temperament was rampant in Mr. Whittington is not a piam Dorsey Whittington.	ist of fiery temperament.
Artur Schnabel, Pianist, March 27
Evening World	American
He certainly caught the moods His reading was almost devoid and feeling of the concerto.	of emotional quality.
Evening Globe
It is hard to see how it could be presented to the public more sympathetically.
Theodore Lattermann, Baritone, in Merry Wives of Windsor, March 28
Herald
Theodore Lattermann’s Falstaff was in some respects overdone. . . . Mr. Lattermann acted the role tolerably.
Soprano, March 29
Evening Journal
Often shies at the pitch.
World
Her voice was thin, cold and distressingly unvaried.
Evening Post
Mr. Latterman has done nothing else here nearly so good as his Falstaff. He is a real comedian.
Margaret Northrop,
Evening Mail
She sang quite in tune.
Evening Post
A light but very agreeable soprano voice, . . . responsive to the demands of several styles.
Antonio Meli, Baritone, March 30
Tribune
He can sing energetically . but without expression.
Evening Mail Throaty production.
T imes
His voice . . . was ... intelligently expressive of emotion. Globe
A fresh and pleasant voice.
College Student Defends Classics
A student at Huron College, Huron, S. D., wrote an excellent testimony for the Artist Lyceum course being given in that city. The essay was handed in to a college English class and printed in the local college paper. The statement was made by one of the students that he did not attend the Artist Lyceum course !because classical music was so serious, heavy and dull that he felt he had wasted his money. The student defender of the course states that a classic is a work ■yrhich has pleased people for many generations and therefore if one does not like it his taste is peculiar, either better or worse than the average run of concert attenders. He states that although no one would call the latest popular Broadway tune “classic,” yet if it is hummed and whistled long enough 'by the whole world it might become one. The greater part of the music included in the course is made up of works which have won popular approval for many generations and intelligent listeners would do well to study them and their own tastes.	H. M B
Inez Church Soloist with Singing Society
Inez Church, soprano, has been engaged by the Holland Singing Society Ontspanning of Paterson, N. J., as assisting artist at its concert in the Y. M. C. A. auditorium, April 12.	׳
This society, consisting of thirty mixed voices, conducted by J. Boomsnia, is now in its tenth year. Miss Church is an artist-pupil of Emilio A. Roxas, New York vocal teacher and coach, and is under the management of Jules Daiber
Ohio Engagements for Gescheidt Artists
Fred Patton, baritone, and Richard Crooks, tenor will give a recital in Springfield, Ohio, April 19. Fred Patton and Judson House are engaged for the Samson and Delilah performance in Columbus, Ohio, April 23.
Schofield and Dilling in Recital
The Contemporary Club of Bridgeport, Conn., has en-gaged Edgar Schofield, baritone, for a joint recital with Mildred Dilling, harpist, on April 26.
MUSICAL COURIER
strength runs in the family was shown when Carmela Pou-selle, sister of Rosa, gave a first song recital at Town Hall, with a program of Old Italian, operatic Italian, modern French and other numbers. The resemblance was apparent in voice as well as in appearance; there was no doubting the volume of Miss Ponselle’s voice; it was of a full, earfilling quality with ample range and richness of tone, especially in the lower notes—one which, like her sister’s, seemed best adapted for the Italian operatic style.” The critic of the Evening Telegram stated that, “In the matter of voice Miss Ponselle is exceptionally gifted.”
Education of the Blind
The New York Institute for the Education of the Blind gave an interesting series of anniversary exercises on March 22. The following program was rendered: Two chorus numbers; organ solos by Thomas Manzi and Frances Sie-vert, A. A. G. O.; piano solo by Rose Taub; folk dances, colonial dance, calisthenics, gymnasium work and drills, also various other interesting things performed by the pupils.
There was also an exhibition and sale of hand-work by the pupils of this school and which illustrated better than anything else could the remarkable skill of their teachers in making it possible for these sightless young people to do useful work of almost every kind. The pupils show extraordinary ability and some of the things they do seem almost beyond the limitations of possibility. One can scarcely believe that they are afflicted with blindness. This is a useful work and those philanthropically inclined should give it their support.
Bruce Campbell in Song Recital
One of Newark’s prominent singers is Bruce Campbell, who appears at numerous important musical events during the season and never fails to give at least one recital in his home town each year. This year it will be on April 18, and as usual at Wallace Hall.
Mr. Campbell has been working with Josef Regneas during the past two years, which indicates that the program will be of high standard both in its arrangement and rendition.
Mr. Campbell is tenor soloist of the First Presbyterian Church, Newark, where Rodney Saylor is organist. The latter will act as accompanist for Mr. Campbell at the recital.
As instructor of the voice Mr. Campbell holds a prominent position, and his pupils’ concert each year shows him to be most efficient in this branch of the work. As an interpretative artist, Mr. Regneas holds Mr. Campbell in high esteem.
Carmela Ponselle Makes Successful Debut
The story of how Rosa Ponselle rose from poverty to fame is past history, and now comes the interesting news that her sister, Carmela, is rnaking her bid for recognition in the musical world. It will be remembered that the two girls were very successful some years ago touring in vaudeville on the Keith Circuit. When it was discovered by William Thorner that Rosa had a voice of unusual beauty and he predicted an operatic career for her, Carmela set aside her own ambitions and worked incessantly to make this dream come true for her sister. When this was realized and Rosa made a successful debut at the Metropolitan, Carmela again began the serious study of music, and on March 18 she made her debut in recital in New York at the Town Hall. According to the Tribune:	“That vocal
The Norfleet Trio
IIV
Children’s Matinees
Booking Now tor Season 1923-24
I want to tell you how thoroughly pleased all our people were with the splendid concert which The Norfleet Trio gave here We shall hope to have you-again.—Otis W. Caldwell, Director, Lincoln School of Teachers’ College.
I feel that the mission of The Norfleet Trio in this direction (for children) will prove as valuable and important !(Dr Chamber Music as the “Young People’s Concerts” given by the New York Symphony Orchestra under Walter and r rank Damrosch have been for symphonic music.— Louis Svecenski.
I hope you will plan four half-hour recitals for us next year, two for the little children and two for the older ones. —Helen Goodrich, Francis W. Parker School, Chicago.
The Norfleets are doing a splendid educational and cultural work.—Mrs. Henry Schurmann, Pres. Indiana Federation of Music Clubs.
The concert was skillfully and happily adapted to the occasion of the school assembly and created a desire on the part of all that the Norfleet Trio appear here again.— Robert A. Maurer, Principal Central High School, Washington, D. C.
Allen-Pilcher Company Places Helen Kremer
Helen Kremer^ a well known Chicago pianist, formerly with the Glenn Dillard Gunn School of Music, has been engaged through the Allen-Pilcher Company as director of the music department of Mars Hill College, Mars Hill, N C Miss Kremer is a pupil of Robert Heischmiiller of Leipzig '
Management: Ernest Briggs, Inc. 1400 Broadway, New York, N. Y.
MERLE BAECK
AMERICAN SOPRANO
RETURNING TO EUROPE IN JUNE FOR TOUR OF PRINCIPAL CITIES