MUSICAL COURIER
48
April 19, 1923
Tutte—which has been translated into English to ’Tis Woman’s Nature. The cast included Irene Williams as Leonora, Kathleen Hart Bibb as Dorabella, Lillian Palmer as Despina, Judson House as Ferrando, Leo de Hierapohs as Guglielmo, and Pierre Remington as Don Alfonso. Stuart Ross presided at the piano. Performances were given on Monday, Tuesday, Thursday and Friday afternoons, April 9, 10, 12 and 13. So maSy excellent reports have appeared from various cities visited by this worthy organization that but little more than the above announcement seems necessary at this time. Each participant well deserves words of praise, not only for beautiful singing, but also for enunciating the text so clearly as to make the entertainment one of the best advocates for opera in our language. Each artist played his or her role excellently, too, and the piano accompaniments of Mr. Ross were on a par with the work of the singers. Costumes and scenery were adequate, and the success of the enterprise on the road is well understandable.
Apollo Musical Club Concert.
The Apollo Musical Club at Orchestra Hall, Monday evening, April 9, assisted by the Chicago Symphony Orchestra, Edgar A. Nelson organist, with Harrison M. Wild conductor, added to its former successes by delivering a wonderfully smooth and colorful performance of Goring-Thomas’ choral, Swan and Skylark, Verdi’s Stabat Mater and Te Deum and Cum Sancto Spiritu from Mass in B minor by Bach. The following soloists assisted:	Elsa
Kressman, soprano; Jennie Johnson, contralto; Eugene Dressier, tenor, and Arthur Ranous, baritone. As a whole it was the most beautiful, colorful and full-throated singing ever heard from the Apollo Club, which is saying much; the spontaneous response, precision of attack and soul inspiring earnestness were outstanding results. Mr. Wild outdid his former efforts and conducted with ease, grace and forceful command. The interpretation of these works rendered in both reading and singing by Mr. Harrison and the club was' impressive and praiseworthy. Another great success for this fine organization 1
Balaban and Katz Prize Competition.
A few months ago Balaban and Katz instituted a contest to discover American composers’ talent. A prize of a thousand dollars was offered for the best symphony number submitted. At the same time it was announced that the best six compositions received would be given a public hearing through the medium of the 100-piece Chicago Theater Symphony Orchestral Hundreds of manuscripts were received. The judges, without knowing the identity of the composers, selected the six best after months of study. The best one of the six will be chosen after hearing each played on April 29, at the Sunday noon popular symphony concert at the Balaban and Katz Chicago Theater. Those who will select the winning composition are Richard Hage-man, Adolf Weidig, Maurice Rosen feld, Herman Devries, Karleton Hackett, Eugene Stinson, E. C. Moore, Glenn Dillard Gunn, Charles E. Watts, Florence French, Margie MacLeod, Rene Devries and Nathaniel Finston.
Sfvcik Scholarship to Be Awarded May 16.
Professor Otakar Sevcik, world famous teacher of Kubelik, Morini, and other distinguished violinists, will give one free scholarship at Bush Conservatory, consisting of weekly^ lessons. The scholarship will be awarded in open competition of preliminary and final examinations, to be held at Bush Conservatory, May 16. Applicants should secure blanks at once, as the number to be heard is already large, and arrangements should be made as far in advance as possible.
Bush Conservatory Engages Nelli GAjtDiNi.
Mme. Nelli Gardini, leading soprano of the Boston English Opera Company, has been engaged by President Bradley of Bush Conservatory, to conduct, a grand opera class
CHICAGO COLLEGE OF MUSIC
Esther Harris Dna, President	A. G. Dna, Mgr.
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CHICAGO TURNS OUT FULL FORCE TO GREET
SUNDAY CONCERT GIVERS IN WINDY CITY
About 15,000 Music Lovers Applaud Elman, Bauer, and Maier and Pattison—Trevisan and Company in II Maestro di Capella—Heifetz Charms—Apollo Club Concert—Balaban and Katz Prize Awarded Soon—Edward Johnson Soloist with Swift & Co. Chorus
Sebald and Robert Ambrosius, the Brahms G minor quartet, with which the program closed. Needless to add, this was another Bauer triumph.
Maier and Pattison.
The famous piano duettists—Maier and Pattison—drew a big patronage to Orchestra Hall and each singly demonstrated his own efficiency in solos, while, of course, their duets were for the general public the most enjoyable part of the program, as their fame has been based, in the eye of the layman, only on their duet work. Mr. Maier opened the program with the andan'tino and scherzo from Schubert’s A major sonata, which was followed by Seven Little Waltzes by the same composer and Weber’s Perpetual Motion. The latter, taken at a vertiginous tempo, showed the admirable technic of the pianist. In the Schubert selections Guy Maier’s happy frame of mind was conspicuously registered in his playing and his personal success was in every way justified. Lee Pattison, an exceptionally fine interpreter of the Chopin piano literature, was heard solely in the works of this master for his solo numbers, including the C sharp minor mazurka, tarantelle, E major nocturne and C sharp minor scherzo. He, too, was asked for an extra nurriber, which he graciously added to his printed contributions. Pattison, a very serious musician, plays with great dignity, beauty of tone, and as Glenn Dillard Gunn said in the Chicago Herald-Examiner: “Pattison proved himself one of the finest Chopin players of the season and there have been many.” What more can now be said? The recital was under the management of Wessels & Voegeli.
Trevisan and Company at the Woods.
II Maestro di Capella served to introduce Vittorio Trevi-san, the distinguished baritone buffo of the Chicago Civic Opera Company, in a role in which he had not been heard previously and in which he should be heard at the Auditorium. ׳Barnaba, the orchestra conductor (as II Maestro di Capella was translated on the program instead of the Choir Master, its real translation) affords Trevisan great opportunities to display his remarkable gifts for high class comedy and he made each opportunity count, to the great merriment of the spectators. The role of Barnaba also requires a fine baritone voice. Lodovico Oliviero, also from the Chicago Opera, sang the role of Benetto, Barnaba’s nephew, and he too scored heavily. Mabel Sherwood, who looks very much like Mabel Cox Van Grove, sang with distinction the difficult part of Gertrude, and she, too, received her share of plaudits. Isaac Van Grove at the piano was an orchestra by himself.
Heifetz at Auditorium.
F. Wight Neumann brought to the Auditorium Jascha Heifetz, who heretofore chose Orchestra Hall for his Chicago appearances. The young wizard’s lone Chicago recital stamps him as one of the most popular visitors of the present season. Due probably to the fact that Elman, Bauer, and other distinguished visitors were in the audience, Heifetz played with more gusto, more warmth than has been the case in his previous appearances here. His playing was more enchanting than ever and as his program was a very comprehensive one, enlisting two concertos—one by Nar-dini and the other by Mozart—and numbers by Tschaikow-sky, Glazounoff, Wieniawski, Chopin and Paganini-Auer, his recital was from a musical standpoint highly interesting.
Cost Fan Tutte.
William Wade Hinshaw’s company came to the Stude-baker Theater, under the local management of Rachel Busey Kinsolving, in Mozart’s comic opera in two acts—Cosi Fan
VITTORIO TREVISAN
of Chicago Optra Aaaoclatlon VOCAL STUDIOS
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fNICOLAY
T ““———————
Basso for twelve consecutive seasons with Chicago T	Opera Co., now free to accept dates.
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BASS-BARITONE Private Address: 1430 Argle Street Address Bush Conservatory. 839 North Dearborn Ave.. Chicago
EDGAR NELSON
Piano and Organ Instruction
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RATHAUS STR. 20. VIENNA, AUSTRIA
Chicago, April 14.—Nearly every theater in the music center of the city harbored a musical entertainment last Sunday. A very successful Chicago impresario once told this reporter that there were in the Windy City only twenty-five hundred habitual concert-goers and that no artist could count on a much larger patronage. This statement was made some ten years ago. Since then concert-goers here must have increased considerably in number, for at least fifteen thousand were encountered on Sunday, April 8, by the Musical Courier reporters, every hall being practically filled to capacity.
Elman at the Auditorium.
That Mischa Elman’s admirers in the Windy City are fast increasing in number was demonstrated by the large audience which the Auditorium held for his first appearance at this vast theater. Heretofore, Elman’s recitals have been confined to Orchestra Hall with a somewhat smaller capacity. Ever present in his renditions were his unusually beautiful tone, complete mastery of his instrument and youthful vigor, which make Elman’s violin recitals rare artistic treats. The listeners could not but enthuse over the exquisite playing the violinist set forth, and they left no doubt as to their enjoyment. Encores were demanded after each group, and Elman, in gracious mood, responded with many extra numbers. On his program he had listed the Nardini D major sonata, Mendelssohn concerto in E, Mozart’s adagio, Boccherini’s minuet, the Chopin-Sarasate nocturne, the Brahms-Joachim Hungarian Dance, No. 7, the Amani-Elman Oriéntale and Sarasate’s Zigeunerweisen.
Harold Bauer.
Harold Bauer’s intellectuality and mastery of the keyboard have won him the respect and admiration of musicians in general to the point where pianists dote on everything he does and consider the attending of a Bauer recital most essential in their musical education. A good many of Chicago’s pianists and piano students helped fill the Stude-baker Theater last Sunday afternoon, and must have bene-fitted much from Bauer’s recital. He played as only Bauer can play the Bach Partita in B flat, Schumann’s G minor sonata, Chopin’s three posthumous etudes and F sharp minor polonaise, the César Franck pastorale, Liszt’s Mephisto waltz and, with the assistance of Leon Sametini, Alexander
FRANCESCO T'b/VT"'fcT^T
Of Chicago Opera Association	JL
Specialist in Voice Placing and Coaching for Opera, Stage and Recital
Studio: 720 Fine Arts Building Chicago, 111.	Harrison 5755
Bush Conservatory
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Kenneth M. Bradley Edgar A. Nelson President	Vice-President
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SUMMER TERM
Normal Courses
FIVE WEEKS—June 2 7th to July 31st Special Courses	Public School Music Normal
TEN WEEKS—May 23 to July 31 SIX WEEKS—June 2 7 to Auk. Brilliant Faculty of Over Ninety Artists.
The greatest ever assembled in an American school of music. Modem Normal Courses in All Departments.
Remarkable Series of Artist Concerts. Recitals and Lectures. Free to Summer Students.
Announcement is made of the exclusive teaching engagement of OTAKAR SEVCIK
World-renowned violinist and teacher of Kubelik. Kocian, Morini, etc. By special arrangement available MARCH 1st• TO SEPTEMBER 1st FREE SCHOLARSHIPS WITH ARTIST TEACHERS.
Write for application blank and particulars.
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STUDENT DOR IV1 !TORIES
AURELIA ARIM0NDI
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VITTORIO ARIM0NDI
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Voice Placing, Coaching for Opera, Stage and Concert Deportment
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HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York; Covent Garden, London; Grand Opera, and Opera Comique, Paris; Theatre Royal de la Monnaie, Brussels, etc.
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