MUSICAL COURIER
54
. April 19, 1923
extracts from press notices are but a very few of the many she received while on this tour:
There are few singers who could bring out the wonder and charm of childhood as Miss Smith did. — Bulletin, Walla Walla, Wash., February 21.
Miss Smith presented a well arranged and interesting program, displaying her fine diction and interpretative ability, as well as a beautiful voice.—The Evergreen, Pullman, Wash., February 23.
She has a delightfully wholesome personality and possesses a strong, useful soprano which she uses attractively. — Spokesman Review, Spokane, Wash., March 5.
Few soloists have gained such instant favor from a Spokane audience.—Chronicle, Spokane, Wash., March 5.
There was a charm and wistfulness about the children’s songs that made that group unusually appealing as sung by Miss Smith.—Capital Journal, Salem, Ore.
Miss Smith was heard by the assembled Rotarians (at the conference of the Rotary Club of the Tenth District) in songs by American composers, including children’s songs. She was discovered to be the possessor of a warm and flexible voice, graceful in flowery passages and of ample range. Her audience was decidedly appreciative, and a novelty in applause was supplied by the generous use of the clackers in favor at the conference.—Journal, Milwaukee, Wis., March 16.
Her voice is remarkable for its purity of tone, flexibility and range. In both her high and low notes there is à consistent roundness and quality which is rare.—Tim;s, Gettysburg, Pa., March 21.
Miss Smith ga^e a song recital that was one of the rare treats of the entire season?—Hickory, N. C., March 24.
She is a singer gifted with an unusual amount of individualism.— Tuskegee Alumni Bulletin, Tuskegee, Ala.
Myra Hess Has “Delicacy of Touch”
Myra Hess has had splendid success everywhere this season in her appearances, both in and outside of New York. Many of her press comments have appeared of late in these columns, the appended being only a few of the many that she has to her credit:
Miss Hess played as charmingly, as illuminatively and with as distinct a personality as an artist, as what has been printed about her promised. . . . Her touch is a mechanism to be wondered at; she gets remarkable variety of tone and plenty of power from the instrument without any forcing of its tone. There is great delicacy, but equally great positiveness in her playing. Her interpretations are more than intelligent—they are poetically perceptive; the complete content of the music must be vividly realized by Miss Hess, because she makes the hearer realize it.—Rochester Post Express.
A recital of rare beauty and supreme artistic merit—the most grateful concert of Rochester’s present musical season—was given by Myra Hess at Kilbourn Hall last night. . . . The consummate qualities of her singularly beautiful art were exemplified in a program that achieved perfection in its arrangement. . . . Miss Hess interpreted Cesar Franck’s masterpiece with infinite delicacy of perception, sensitive tonal color, crystalline clarity of musical vision and deftly arranged detail. . . . Miss Hess’ art is as many-sided as the compositions she interprets. In her playing one finds graphic imagination, a brilliant technic, a tone of remarkable beauty, as well as power, an impeccable rhythmic sense and profound intellectuality. Rochester Times Union.
The graceful ease and elegance of her pianoforte work placed her definitely in every mind as an artist of sterling merit. . . . She revealed the original idea and evoked the original mood of the writer apparently in every number, so masterfully and surely that each was invested with pristine freshness and grace. Technical exigencies
GIULIO CRIMI
Tenor, Chicago Opera Company
“It is no grateful task to take the place of the greatest tenor, but Signor Crimi gave a performance of Canio that earned him six curtain calls after the ‘Vesti la Giubba’.”—Afe«׳ York American.
Available before and after the Opera Season 1923-1924
Management: R. E. Johnston 1451 Broadway -	-	-	- New York City
(Knabe Piano)
Eastman School of Music
of The University of Rochester
ALF KLINGENBERG, Director
SUMMER SESSION
June 25 to July 28, 1923
Courses for TEACHERS of PUBLIC SCHOOL MUSIC Courses for PUBLIC SCHOOL TEACHERS OF INSTRUMENTAL MUSIC NORMAL COURSE for PIANO TEACHERS Course in INTERPRETATION for PIANO STUDENTS Private Lessons In COMPOSITION and COUNTERPOINT, PIANO, VOICE, VIOLIN, VIOLONCELLO, ORGAN, HARP, ORCHESTRAL INSTRUMENTS, ORGAN ACCOMPANIMENT of MOTION PICTURES REGULAR FACULTY OF SCHOOL ON DUTY AT SUMMER SESSION
For Catalogue and Information, Address
The Secretary, Eastman School of Music Rochester, New York
OPINIONS OF THE PRESS
Beatrice Horsbrugh and Olga Sapio in Joint Recital in Chicago
Two very attractive young artists filled with youthful enthusiasm, yet possessing the poise and self confidence of the ripe musician, viz., Beatrice Horsbrugh, violinist, and Olga Sapio, pianist, made their first appearance in Chicago at Lyon & Healy Hall, on March 18, under the management of A. and H. Culbertson.
In spite of strong counter attractions, a fine audience greeted them and rewarded their efforts with unstinted ap-
plause. The press was well represented and comments go to show that the success of the two talented artists was of the most genuine kind.
Miss Horsbrugh, in the first movement of Mendelssohn’s concerto and more especially in a group of shorter numbers by Melartin, Cui and Fiocco, displayed a big tone and a good technic. She is an earnest musician who should accomplish much. Her playing of Grieg’s sonata was especially pleasing. Miss Sapio has assets of great value —an excellent technic, musical feeling, and an attractive personality. Her interpretations possessed individuality, and she had much to offer to those who like good music.—Chicago Musical Leader.
Miss Horsbrugh played an elegie by Melartin with big tone, and combined at the end in the C minor sonata by Grieg.
Miss Sapio, the daughter of prominent musicians, showed her talent in pieces by Beethoven, Scriabin, Paderewski and Cyril Scott. She has a facile technic, a full, round touch, and showed an understanding of the character of the music under her consideration.—Daily News, Chicago, March 19.
Miss Horsbrugh played with pleasing tone quality and adequate knowledge of the instrument—and Miss Sapio, like an accomplished musician, a thoroughly cultivated young artist, who reflects the luster of her birthright.—Chicago Evening American, March 19.
Beatrice Horsbrugh is a violinist with a good technic and a tone of volume. She played in earnest fashion.	. . .
Olga Sapio is an attractive maiden with a good technic and feeling for the music. She gave the Paderewski Cracovienne Fantastique with spirit.—Chicago Evening Post, March 19.
There was a second generation of famous musicians at Lyon & Healy hall, where Olga Sapio, pianist, gave a joint recital with Beatrice Horsbrugh, violinist. Miss Sapio is the daughter of Romu-aldo Sapio, who was the first conductor to raise a baton in the Auditorium, and of Clementine de Vere, a brilliant soprano. Miss Sapio and Miss Horsbrugh played well individually, also in conjunction.— Chicago Daily Tribune, March 19.
OLGA SAPIO (STANDING) AND BEATRICE HORSBRUGH
Barclay Impresses Toronto
At the recent Toronto Festival, John Barclay was one of the soloists and repeated the fine impression that he created there last season. Some typical reviews of this occasion and of Mr. Barclay’s appearance with the Detroit Symphony Orchestra are appended:
Mcphisto was right in his element, thanks to a fine dramatic vocalism, a sense of almost bacchanalian absorption in the role. Barclay flung himself into this with true operatic abandon, and in splendid voice. In Songs of the Fleet, he was superb. Here he caught another atmosphere congenial to a son of England, singing them in his best dramatic style, and a vocalism mainly unimpeachable.—Toronto Star.
John Barclay was at his best. The warm, vibrant sympathy of his voice, its wide and even range, the wonderful clarity of his enunciation and breadth of interpretative insight, all found expression in his singing last night.—Toronto Evening Telegram.
John Barclay was the_ soloist at Sunday afternoon’s ‘.‘pop” concert and to say that he pleased the audience would be putting it mildly. The young baritone displayed a voice rich in -tonal quality and teeming with color, handling the most difficult ranges with an ease that betrayed excellent training. . . . Both numbers were enthusiastically received. Mr. Barclay was called back repeatedly and it was with difficulty that the orchestra was able to resume its program.—Detroit Free Press.
Mr. Barclay came well spoken of, and, after rendering the ever reliable Vision Fugitive, from Massenet’s Herodiade, and Valentine s air from Faust, he departed in even higher esteem. His voice is of beautiful texture in its middle and upper reaches.—Detroit limes.
Ethelynde Smith Lauded on Tour
Ethelynde Smith, soprano, recently completed an exceedingly successful concert tour of three months which took her'from the Atlantic to the Pacific Coast. The appended
yeatman GRIFFITH
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artiitm. Studios: 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8537
?KERR
BASS BARITONE
RECITALS IN ENGLISH, FRENCH,
ITALIAN AND NORWEGIAN 561 West 143rd Street, New York City. Tel. 2970 Audubon
DR. CHERUBINO RAFFAELLI
From Royal Conservatory, Florence, Italy TEACHER OF SINGING AND PIANO
602 Weat 137th Street, New York City Telephone Audubon 5669
COLORATURA
SOPRANO
Opera and Concert а
ALLABACH
Personal Address: 710 Madison Ave., Toledo. O. Management: LOUIS BRAND
R
A.
C
H
E
L
OPERATIC and CONCERT TENOR Graduate, Royal Conservatory of Music MILANO, ITALY
125 East 37th Street New York
GIUSEPPE BOGHETTI
Vocal Studios: 1710 Chestnut Street Philadelphia, Pa.
Professor of Choral Music, Columbia University Address 39 Claremont Are.
Hall
Walter
Benry
Williams. BRADY
TEACHER OF SINGING
Studio: 137 West 86th St., New York. Tel. Schuyler 3580
CHARLES SANFORD SKILT0N
COMPOSER and ORGANIST
University of Kansas	Lawrence, Kansas
MARIE SUNDELIUS Soprano
With the Metropolitan Opera Co.
Exclusive Management:
HAENSEL & JONES,	Aeolian Hall, New York
Edwin Franko Goldman
CONDUCTOR THE GOLDMAN BAND
"A Symphony Orchestra in Brass* ’ Columbia University Concerts
Personal address: 202 Riverside Drive, New York
a. fred WOLLE
ORGANIST
Management: THE WOLFSOHN MUSICAL BUREAU,
712-718 Fisk Bldg., New York
o f\y f* AÏÏID YC Voice Placement a Vr X/	and Opera Class
Address: 54 West 82nd Street. New York	Telephone 5880 Schuyler
DAN BEDDOE
TENOR
Voice Culture—Recitals and Oratorio
Cincinnati Conservatory of Mnsic Cincinnati, Ohio
New York College ot Music
114116־ EAST 85tlt STREET
Carl Hein—Directors—A. Fraemcke All courses will continue during the summer.
SUMMER MASTER CLASSES
under the supervision of AUGUST FRAEMCKE, Piano Dept.; HANS LETZ, Violin Dept.
GEORGE S. MADDEN
BARITONE
Master Singer Concert, Recital and Oratorio
“In oratorio music his style was especially praiseworthy.”—New York Herald.
GEORGE H. LAWSON, Manager
267 Macon St. Brooklyn. N. Y. Phone 7992-W Decatur