MUSICAL COU Hl ER
VOCAL TEACHER AND COACH
Consultation by Appointment Studio: 25 WEST 86th STREET, NEW YORK CITY
Phone: 8107 Schuyler
M.CURCI
MOCCHI PROMISES AN INTERESTING SEASON AT THE COLON
who returns to us after one year’s absence, and José Segura Tallien, a newcomer. Among the basses, Carl Braun, who made such a favorable impression in the German repertory last year, returns; also J. Cirino, who has been a regular favorite down here^ for many seasons running. G. Man-sueto, G. de Vecchi and M. Fiore are newcomers.
Besides Richard Strauss and Franz Schalk, we are to have Gino Marinuzzi, who will conduct the Italian repertory, together with Vicente Belleza and Franco Paolantonio, all known and favorites down here. The season will, as usual, start during the latter half of-May and continue for some ten weeks.	K. H. Stottner.
Miinz to Goncertize from Coast to Coast Next Season
Mieczyslaw Miinz, the Polish pianist, was among the passengers that sailed recently on the S. S. Majestic. He is going to Italy to appear in a series of performances. From thfre he will proceed to Germany, where he will also play, and then return to his native land to concertize.
In this country Mieczyslaw Miinz made his sensational New York debut at Aeolian Hall on October 20 last and immediately won the highest recognition from the press and public alike. His second New York recital, on December 7, brought him still greater acclaim. He was immediately engaged by Walter Damrosch for two performances as soloist with the New York Symphony Orchestra, and for concerts and recitals in various parts of the country. Recently he appeared as soloist with the New York Philharmonic Orchestra under Mengelberg at Carnegie Hall. Next season, upon his return to this country, he will play many engagements from coast to coast.
Laurie Merrill’s Engagements
Laurie Merrill, soprano, whose song recitals in costume have attracted much flattering attention to that comely young woman, was recently in Washington, D. C., when the Post of that city especially mentioned the admiration of her audience for her singing of the aria from Louise. Other papers endorsing her singing are published in Albany, Syracuse, Utica, Hudson and Brooklyn. March 2 she gave a costume recital (wearing old English, old French, and an especially charming modern Spanish costume), for the M. E. Church Home for the Aged, New York, Gertrude Ber-tine playing her accompaniments.
Mabel Wood Hill Completes Works
Mabel Wood Hill, the American composer, whose songs, The Gull, Snow on the Hills, Fairies, Les Yeux and Mor-gen״ebet, are having increased success because of their originality and refinement, has just completed a movement of an orchestral suite, The Wind in the Willows, which has greatly interested connoiseurs. She has also arranged for string orchestra two of the big preludes and fugues by Bach, and these are in the hands of a prominent New York conductor.
JOSIAH ZURO
Director of
THE ZURO GRAND OPERA COMPANY
TEACHING
744 7th Ave., N. Y. City
COACHING
Phone: Circle 0100
Buenos Aires, March 8.—With his usual promptness, Impresario Walter Mocchi has already announced some of the names of artists and operas which will be shown us at this year’s season at the Colon Theater, Buenos Aires. It is with great pleasure that Mocchi has reinserted the French repertory in his season which last year he had completely boycotted. Judging from the proposed program already accepted by the Administrative Body of the Buenos Aires Municipality, Mocchi intends to give us a more cosmopolitan season of operas and has considerably cut down the Italian section. We are grateful to note that such eminent personalities of the baton are visiting us this year as Richard Strauss and Franz Schalk, who are intended to take over the German section of the season together with the symphonic concerts which are again planned to be given at the end of the Colon season, and the rumor has it that it will again be the Vienna Philharmonic Orchestra which will come over here to give the symphonic concerts.
Novelties.
Mocchi promises to produce six works new to Buenos Aires during the coming season, namely Debqra e Jaele, by Ildebrando Pizetti; La Legenda di Sakuntala, by Franco Alfano; Electra, by Richard Strauss; L’Heure Espagnole, by Maurice Ravel; La vida Breye, by Manuel de Falla, and Ilse, by the Argentine composer, G. Gilardi.
The municipality has accepted Mocchi’s repertory in its entirety as well as his selection of artists, but they have made a special appeal to Mocchi to insert the popular opera Loreley, by G. Catalan¡, and another work by a young Argentine composer by the name of Felipe Boero, called Raquela.
The other works which are proposed to be given are the following: Tristan und Isolde, Lohengrin, Die Walküre and Salome, which will all be sung in German; La damnation de Faust, Louise, Manon, Thais and Faust, to be sung in French, and Aida, William Tell, Rigoletto, Lucia .de Lammermoor, La Traviata, Manon Lescaut, Boris Goudon-off, Tosca and Sonnambula, to be sung in Italian.
Among the artists that will appear this year figure a good many names that have won laurels down here on previous seasons and are naturally welcomed most warmly. To head them all we will have this wonderful artist, Claudio Muzio, back with us again and her success is assured already now by the sweet memories that still glow in our minds and ears of her sweet and soft soprano voice. In the German section Walter Kirchoff and Emil Schipper are very welcome returns; so are Carlos Galeffi, after an absence of some two years, and the French basso, Marcel Journet, who has been some eight years absent from South America. Fanny Heldy is a newcomer from the Paris Grand Opera, who will sing leading roles of the French repertory.
The Singers.
Among the sopranos we find Toti dal Monte, Gertrudis Kappel, Carlota Dahmen, Nelly Martyl, Bruna Dragon¡, Hina Span¡ and J. Hiru, who are all newcomers except Toti dal ׳ Monte, who had a decided success with Mocchi two years ago. The mezzo sopranos are new as far as the Colon is concerned, viz.: Flora Perini, Maria Olcewska and Louisa Bertana. Among the tenors Miguel Fleta returns. With Aureliano Fertile and Folco Bottaro he will sing the Italian repertory, while John Sullivan will sing the French repertory. The baritones include Armand Crabbe,
AMERICAN ACADEMY of DRAMATIC ARTS, Founded !884
FRANKLIN H. SARGENT, President
The leading Institution for Dramatic and Expressional Training in America. Connected with Charles Frohmann's Empire Theater Companies. For information apply to Secretary, 155-N, Carnegie Hall, New York.
THE HUBBARD STUDIOS OF VOCAL INSTRUCTION
ARTHUR J. HUBBARD VINCENT V. HUBBARD
BOSTON: Symphony Chambers	NEW YORK (Mr. Vincent V. Hubbard on Mondays): 807-808 Carnegie Hall
VIRGINIA GILL Lyric !Soprano
“A Voice ol Distinctive Charm”
CONCERT OKAIORIO OPERA
Addres» : 1014 Division Street	Camden, New Jersey
Qlrfalatti) Jnstitui? of (Dttgir ERNEST BLOCH, Musical Director
2SZ7 EUCLID AYE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
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TEACHERS OF ARTISTIC SINGING
Cincinnati Conservatory of Music
Season 1922-23
From the first gracious bow to the final tick tock’ of her ‘Clock Song,’ Anna Fitziu, was in perfect harmony with the large audience that greeted her. Anna Fitziu’s tones are clear as a bell and absolutely true and with all of her great love in her voice, she sings straight to the souls of her audience. ”—Florida Metropolis.
Management:
R. E. *JOHNSTON 1451 Broadway New York
CARLO OF* ERA CO.
Anna FITZIU
GUEST ARTIST SAN
April 19, 1923
CROWDED MUSICAL SEASON
AT EASTMAN THEATER
Rochester, N. Y., April S.—The musical season which was concluded at the Eastman Theater on April 4 with the concert of the Rochester Festival Chorus was the most comprehensive in the history of the city. Stimulated by the beautiful new home provided for musical affairs, interest in symphonic, choral, vocal and instrumental art was greatly heightened, and the Wednesday concerts became an established and popular Rochester event.
During the season just closed, lasting six months, there was presented a total of forty-two musical offerings, including nine operas. Twenty-seven of these were given in the Eastman Theater and fifteen in Kilbourn Hall. One of the outstanding events was the inaugural concert by the Rochester Philharmonic Orchestra, a symphonic organization developed with the Eastman Theater Orchestra as a foundation, and destined, in the not distant future, to rank with the great orchestras of the country.
In order that the general public might have an opportunity to hear these great artists, prices were kept just as low as possible—in many instances below actual cost. For instance, the Paderewski concert, although the theater was crowded and many were standing, was given at a loss; also the Chaliapin concert and several others. Ordinarily, when a concert has a thronged house it means a substantial profit, but this rule does not apply to Eastman concerts. Great artists command high fees and when to this fact is coupled the determination to keep prices within the reach of all classes, it can be readily seen that there must be at times an actual loss, despite the popularity of the particular offering.
The finest sort of co-operation was given by the visiting artists. In many cases it was not only inconvenient but also quite difficult to get to Rochester for a Wednesday night engagement, but the artists, appreciating the aims and ideals of the Eastman Theater, went out of their respective ways to help carry out the general plan. Conceived as a community project and dedicated to the community life of Rochester the purpose of the theater is to provide the people of this city with the best in music and pictures at a price as near to the actual cost of presentation as possible.
Although the program for the season just concluded was easily the most pretentious the city has seen, yet it is but the beginning of a comprehensive plan which aims to make Rochester one of the great musical centers of America. Already arrangements are well under way for the 1923-1924 season.
The Attractions Presented.
The season just finished began with a week of grand opera, starting Monday evening, October 16, when the San Carlo Grand Opera Company gave eight performances, and the theater was crowded nightly. The operas were heard by the public at prices ranging from as low as fifty cents upward.
Following the grand opera season began a series of concerts which were held every Wednesday evening, with the exception of four weeks around Christmas and one week in February. Giovanni Martinelli, Metropolitan Opera Company tenor, and Lydia Civetti, soprano, gave the first concert. Ruth St. Denis and Ted Shawn and the Denishawn Dancers followed in a series of beautiful dance numbers, exquisitely arranged.
First of the symphony orchestras to be heard was the Boston Orchestra, with Pierre Monteux, conductor, and Vladimir Resnikoff as violin soloist. The New York Symphony Orchestra, Walter Damrosch conducting, with Elsa Stralia, Richard Crooks and Gustave Tinlot, solo artists, was heard November 29 and again on March 14, when Joseph Press, cellist, was the solo artist. The Detroit Symphony Orchestra and our own Rochester Philharmonic Orchestra, Arthur Alexander conducting and Alf Klingenberg, piano soloist, were enthusiastically received.
The Ukrainian ,National Chorus, with Alexander Koshetz conductor, and Oda Slobodskaja, soloist, was one of the real novelties of the year. Ignaz Friedman, pianist, and Jacques Thibaud, violinist, gave a joint concert. Mischa Elman enthralled a large gathering. Joseph Bonnet, consummate master of the organ, was heard in recitals both in the Eastman Theater and Kilbourn Hall. Then followed Feodor Chaliapin, basso, with Max Rabinowitch, pianist, and Nicholas Levienne, cellist; Mme. Louise Homer and her daughter, Louise Homer Stires; John Charles Thomas, who gave an entire program when Florence Macbeth was unable to appear in a joint recital; Carolina Lazzari, contralto, and Alberto Salvi, harpist; Percy Hemus and company in Mozart’s opera, The Impresario, and Mme. Calve.
The Kilbourn Hall Concerts.
Kilbourn Hall, primarily dedicated to chamber music, had a musical season all its own, well-planned and well-supported. The equipment and unusual atmosphere make it an ideal hall for such purposes and in it faculty and student recitals ־find an equally congenial home. The four-manual organ is specially designed for the refinement of tonal effects which the superior acoustics of this intimate auditorium make possible.
The Kilbourn Hall concerts, fifteen in number, included several string organizations—the New York Trio, Wendling Quartet, Letz Quartet, Kilbourn Quartet, Chamber Music Art Society, and a trio composed of Messrs. Landow, Press and Resnikoff of the Eastman School of Music. Alfred Cortot and Myra Hess were the two pianists to give concerts. Raymond Wilson at the piano and Mrs. Jeanne Wool-ford, mezzo-contralto, gave a concert; another presented Selim Palmgren at the piano and Mrs. Jarenfeldt-Palm-gren, soprano; and still another, Pierre Augieras, pianist, and Lucille Johnson, harpist.	H.
Dusolina Giannini Now a Victor Artist
Dusolina Giannini, the young Italian-American soprano, who became an over night sensation after her appearance with the Schola Cantorum, Kurt Schindler, conductor, at its Carnegie Hall concert last month, has just been added to the list of artists who record exclusively for the Victor phonograph. Her recordings will take place at once and her records will ,be on the market within a few weeks. Daniel Mayer, who is now the soprano’s manager, announces that she has been engaged as soloist for a pair of concerts with the Minneapolis Symphony Orchestra, Henri Ver-brugghen conductor, in St. Paul and Minneapolis, on January 24 and 25 next.