MUSICAL COU И I KH
52
April 19, 1923
and of great and supple range, is heard without the slightest disadvantage at this theater.—The Daily News, March 19.
LOEW’S WARFIELD DELIGHTS WITH DOROTHY JARDON.
Dorothy Jardon, dramatic soprano, surprised and delighted the crowds at Loew’s Warfield, Saturday and yesterday, by her brilliant interpretation of the Habanera, from Bizet’s Carmen, singing the number in a setting representing the second act of the opera. Miss Jardon’s voice is big, rich and full, and she sings with a dash and dramatic power that thrills her hearers. She quite justified Marcus Loew in the large outlay of money to bring her here.—San Francisco Chronicle, March 19.
Dorothy Jardon remains for a second week and well repays a second hearing. Her program is a bit more popular. She looks very beautiful in a wide ruffled white dress with pantelettes and her hair is done in the style of the Civil War, and she sings in a charming setting— an old Southern hall—Crinoline Days, and A Kiss in the Dark, and then adds O Mio Babbino Caro, the aria from Puccini’s Gianni Schicchi, which she sings with delightful art, and which shows her rich, full voice to great advantage.—San Francisco Chronicle, March
Mary Fidelia Burt’s Exhibition of Results in Sight-Singing and Ear-Training
An interesting exhibition in sight-singing, musically and educationally, was recently given by Mary Fidelia Burt at the Junior Recital of the American Institute of Applied Music, New York. All, from the little tots to the older pupils, sang with an exactness of time and tone that showed a thorough knowledge of the difficult numbers presented.
The program was: Singing difficult intervals at sight, Taking down in musical stenography a melody as dictated, Hallelujah Chorus from Messiah (Handel), Rejoice Greatly (from Messiah, Handel) sung in unison by Elspeth Macfar-lane, Clarice Kelleher, Lilli Laymon nd Emily Boyle (eight years old). This was to show the possibility of attaining precision, purity, smoothness, artistic phrasing and great rapidity of execution with only four months’ practise. A few lines were sung with syllables, clearly enunciated, as an example of the definite, scientific manner of study. Then the words were sung. Two solos—Mighty Lak’ a Rose (Nevin) and Alice Blue Gown—were sung with action and in costume by Emily Boyle, child-actress in Lilies of the Field, successful New York production, season 1921-1922. The artistic and sympathetic accompanying of Louise Berg-haus was a fine addition to the performance. The audience was interested throughout. Those who sang were Elspeth Macfarlane, Clarice Kelleher, Lilli Laymon, Katherine Fritz, May Brown, Bessie Bishop, Elsa Laymon, Dorothy Pearce, Grace Fietszk, Louise Beaupain and Emily Boyle. The other pupils of the Institute appearing at the Junior Recital showed the same high standards and artistic training for which this school is noted. The teachers whose work was' represented were Miss Aldrich, Mr. Raudenbush, Miss Macfarlane, Mrs. Zedeler-Mid, Miss Stetler, Mrs. Nellis, Miss Miller, Miss Wood, Mr. Spiering, Miss Madden and Mr. Sherman.
Crooks for Worcester and Keene Festivals
Still another important engagement has been booked for Richard Crooks, that of tenor soloist in Mendelssohn’s Walpurgis Night at the Worcester, Mass., musical festival on May 9. Such is the rapidly growing popularity of the young artist that bookings for him for next season are already well under way.
Due to his success there last season, Richard Crooks has been re-engaged for the Keene, N. H., music festival on May 24 and 25. He will sing Dubois’ Seven Last Words, and a group of songs.
March 5 he sang in Trenton, N. J., as soloist with the bcal_ orchestra, and, in the words of the Evening Times, “justified every claim,” which is a large order, considering the sensational success of the young tenor everywhere in the East this season.
Olga Warren to Give Another Recital
Olga Warren, who recently sang at Aeolian Hall, will give her last recital of the season next month.
Mrs. Cornelia Colton Hollister
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Dorothy. Jardon, the opera singer, formerly of the Chicago and Gallo opera companies, filled a two weeks’ engagement at Marcus Loew’s beautiful Warfield Theater in San Francisco, after which she closed a two week’s engagement at the equally magnificent Loew’s State in Los Angeles. Not in a long time has there been so much publicity about an artist at a motion picture theater as this appear-
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ance of Dorothy Jardon. Mr. Loew contended that his patrons are lovers of the best in music and therefore he was willing to spend vast sums of money to introduce an operatic scene in conjunction with the feature picture. These two California twons have had an abundance of material in their newspapers regarding this theatrical event. Mr. Loew believes in publicity, and in every possible way he has notified the music lovers of California of their opportunity to hear Dorothy Jardon sing operatic arias and ballads. The newspaper clippings which are herewith reproduced show with what enthusiasm Miss Jardon’s engagement was received. The principal operatic aria was the Habanera from Carmen, Love Sends a Little Gift of Roses and A Kiss in the Dark.
The San Francisco papers declared the background and setting given to Miss Jardon’s part of the program were the most beautiful and elaborate ever seen there in any photoplay house. From this telegram, sent by Miss Jardon herself, it would seem that the premier in Los Angeles was equally as auspicious:
״ ״ ״	.	Los Angeles, Cal., April 11, 1923.
Mr. Otto Jordan:
Love Sends Little Gift of Roses another triumph here in Los Angeles. Will keep it on for two weeks. Applause so big have to wait fully second before making speech. Will send program and notices. Regards.
(Signed) Dorothy Jardon.
The notices referred to follow:
DOROTHY JARDON AND REX INGRAM FILM AT WARFIELD.
Miss Jardon, with an elaborate stage setting and splendid support, is dividing honors with the feature photoplay, Rex Ingram’s newest achievement, Where the Pavement Ends. This combination of stage and screen presentation, with the supporting numbers, forms one of the strongest programs offered at the Warfield, which theater has built an enviable reputation for entertainment.
Miss Jardon’s appearance has furnished Lionel B. Keen inspiration to build one of his best stage arrangements. The star is presenting arias from the opera, Carmen, in which role she has won the title of the “American Carmen” and her .singing repeatedly “stops the show.” This musical presentation is given added splendor by the Carmen setting and the introduction of other numbers.—A. F. Gillas-pey in The Bulletin, San Francisco, March 19.
DOROTHY JARDON, THE CHICAGO GRAND OPERA PRIMA DONNA, WHO IS THRILLING LOEW’S WARFIELD AUDIENCES WITH HER SINGING OF ARIAS FROM CARMEN.
Marcus Loew shows himself a leader in this development idea. He has sent the beautiful-voiced Dorothy Jardon from New York to sing Carmen selections at his San Francisco theater, the Warfield, and the way the impressive musical numbers are put on by the Lipschultz orchestra and the versatile Sherwoods, with Miss Jardon as the soprano soloist, is far more inspiring from the musical standpoint than many a pretentious grand opera performance to which I have listened, while vastly superior in entertainment quality.
If anybody doubts that the public likes the good parts of opera, let him go to the Warfield and note the enthusiasm with which Miss Jardon is received. She is applauded by every individual in the house. She is encored. She is even cheered. Miss Jardon singing Carmen in a motion picture theater suggests unmistakably the line of greatest and most rapid development in American entertainment.
Dorothy Jardon won her audience thoroughly yesterday and Saturday, when the Warfield was packed to the last row of its upper balconies, wherein were found those critical auditors whose approval provides the acid test of any opera singer’s voice. The balconies did approve, vociferously, of Miss Jardon’s • Carmen, sung in a round, warm voice, typical of the prima donna’s vibrant personality. Another number, Love Sends a Little Gift of Roses, Miss Jardon sings from a balcony box, part of a stage setting which is the most elaborate of the artistic scenes provided for Warfield productions. Still a third number which the diva generously added in response to insistent applause Saturday was The Ould County Down, a quaint ballad, sung in honor of St. Patrick’s Day.
The second act of Carmen is suggested in the action and atmosphere of the production which introduces Miss Jardon.—Thomas Nunan in The San Francisco Examiner, March 19.
WHERE THE PAVEMENT ENDS, AND DOROTHY JARDON AT WARFIELD.
Dorothy Jardon, prima donna, singing arias from Carmen in which opera and role she has become famous, has attracted large houses at the Warfield since Saturday afternoon. Her voice, very full, clear
(Pronounced NEAR-EDGE-HARZI)
“Excited a veritable furore through his personality and his playing.”—Los Angeles Times.
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