MUSICAL COURIER
52
April 26, 1923
ease with which she rose to high tones, as in the words “as soft as air״ in Munro’s My Lovely Celia.—Henry T. Finck in the Evening Post.
She showed a voice of moderate volume and a clear agreeable quality of tone.—Tribune.
Her singing was warmly received.—Herald.
Her vocal equipment is light but promising.—American.
Anil Deer Delights Arizona Audience
Anil Deer, coloratura soprano, recently sang in a city in Arizona, where the leading daily, the Morning Sun, com-• mented as follows:
The third of the series of classical concerts was the appearance of Anil Deer in a song recital on Friday evening at the Fourth Avenue school auditorium, under the auspices of the Monday Musical Club.
Miss Deer has a voice of rare sweetness with never a harsh tone to mar its flexible quality. Her range is marvelous and in the last number, Carnival of Venice, she performed that most difficult feat, taking two octave jumps with ease, giving to the translation a brilliant interpretation. One very lovely number was the Russian Nightingale, in fact the bird group was particularly charmingly done.
Bonnie Sweet Bessie was perhaps the most exquisite number on the program, not so much the particular song, but because it was so beautifully done. Two other old time melodies, given as encores, were also highly appreciated by the audience because of the delightful rendition of things familiar.
The program last night consisted of twenty-two songs, which was of itself a wonderful achievement for an artist. Every selection was given with serious interpretation and showed to best advantage the marvelous voice of the gifted coloratura soprano. The display of voice technic was dazzling.
Denton an “Ever-Welcome” Pianist in New York
Oliver Denton gave his second New York recital of the season at Aeolian Hall on the afternoon of April 7, following which two of the critics reviewed his performance in part thus:
His program was well planned and showed no tendency to fight shy of most difficult works. Since this American pianist first appeared here on January 15, 1917, he has given recitals at regular intervals and proved his claim for consideration as being a musician of serious and dignified purpose. His readings were clear and showed a comprehensive grasp of content. He was at his best in the long Branms composition where his fine technic and intelligence stood the weighty test in a brilliant degree of finish.—Herald.
This accomplished and ever-welcome pianist displayed to great advantage his technical prowess in Brahms’ variations and fugue on a Theme by Handel.—Globe.
Smith’s Concert Lingers in the Memory
One of the many concert engagements filled by Ethelynde Smith on her recent Coast to Coast tour was that in Cheney, Wash., when she appeared with success in the State Normal School. In a letter received three weeks after the concert, J. E. Buchanan, dean of the summer quarter, wrote..to Miss Smith as follows:
We are still enjoying through memory the very excellent concert you gave us. Not a day passes but your name is mentioned either by student or faculty member. One of our faculty said that ordinarily he was bored by a concert given by just one person, but that your program was so well arranged that it was a delight from beginning to end. I could tell you of many other fine things that were said of you and the concert. We hope to have you here again.
On this occasion Miss Smith was accompanied by Margaret Paige, who is said to be a very talented young pianist.
Final Perfield Musicianship Recital
The last of the Perfield Musicianship •Recitals was held at Magna Chordia Hall on Saturday afternoon, April 14.
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Philadelphia Music Club Gives Orpheus
In the ballroom of the Bellevue-Stratford on Thursday evening, March IS, the Philadelphia Music Club gave Gluck’s Orpheus. The presentation was in traditional operatic form with a full complement of furies, shades and Elysian maidens, and supported by the entire strength of the Philadelphia Women’s Symphony Orchestra, J. W. F. Leman, conductor.
The production was under the supervision of Edith A. Pusey, whose familiarity with classical tradition insured a presentation harmonious to the final detail of setting, action, costuming and accessory.
Caroline Littlefield arranged the dances, of which Fullerton Waldo, in the Philadelphia Ledger, was inspired to say: “these coryphees, in their soft white raiment, were as graceful and as good to look upon as daffodils in Elysian fields. They knew where to go and what to do.”
The critics had only the highest praise for the principals: Veronica Sweigart as Orpheus (Miss Sweigart has been adjudged a winner in the Pennsylvania State Contest and will represent the State at the National Contest in June), Cora Frye as Eurydice and Dorothy Fox as Amour. The Philadelphia Ledger said:
Veronica Sweigart invested the life and the mien of Orpheus with a tragic dignity and a just appreciation of the emotional power of the melodies purling and rippling from Gluck’s pen. In voice and bearing alike she reached a notably high standard and had so thoroughly apprehended the role as to make it seem her own by_ second nature.
Cora Frye, statuesquely handsome of presence in the Grecian white and gold of her apparel, revealed again her unusual gifts as a vocalist.
Dorothy Fox made much of the picturesque and animated transaction committed to the engaging figure of Amour.
Mr. Dieck, in the Philadelphia Record, said:
Orpheus and the other principals as well as the chorus were in flowing classic garb, with bare knees, arms and feet. Each person bore a definite relation to every incident and this was indicated in a succession of charming tableaux. Shepherds and shepherdesses, mourners, furies that raved and rocked with deep emotion in Tartarus and the underworld, and spirits too, had part in the proceedings. Throughout there was the stamp of genius in the conception by Miss Pusey of the beauties of the opera and in her realization of her ideas.
The Women’s Symphony Orchestra, under the direction of J. W. F. Leman, did a full share in giving the production a musicianly merit. It is doubtful whether any performance of Orpheus to surpass that of last evening could be given by any other amateur musical organization.
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But to the vision and genius for organization and production of Mrs. Edwin A. Watrous, president of the Philadelphia Music Club, must be given credit for initiating and carrying to a brilliant conclusion the mammoth undertaking.
Fullerton Waldo, in the Philadelphia Ledger, said: “Orpheus was a most ambitious undertaking. The successful presentation was made possible only by a determined cooperative effort on the part of all concerned. It says volumes, not merely for the club, but for the music and musicians of Philadelphia at large, that a work offering such formidable obstacles to any producers should have been so admirably presented.”
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Northrup Has “Interesting Personality”
Margaret Northrup, soprano, made her debut at Aeolian Hall, New York, on March 29, and on March 30 the critics reviewed her recital in part as follows:
RIEMENSCHNEIDER
c
A.
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Margaret Northrup made a pretty picture in her dainty white gown. . . . Her voice was of light quality and of sweet timbre and she sang quite in tune.—Katherine Spaeth in the Evening Mail.
She has an interesting personality and is a singer possessing taste and routine¿ co-ordinating with pronounced talent for public appear-
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MARGARET NORTHRUP
ance, so attaining the best effects.—Maurice Halperson in the Staats-Zeitung.
Margaret Northrup Welcomed (Headline).—Richard Aldrich in the Times.'
Her voice is of delightful quality and pure.—Telegram.
In the Handel-Bibb Bel Piacere her voice had power and color.— Evening World.
She has a pretty voice, light in quality and used with considerable ease.—Evening Journal.
She proved herself possessed of a light but very agreeable soprano voice, flexible, well-trained, responsive to the demands of several styles—Italian, German, French. ... It was comforting to note the
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