37
MUSICAL COURIER
MUSIC FESTIVALS, 1923
American
Ann Arbor, Mich.................May 16, 17, 18, 19
Bethlehem, Pa...........................May 25, 26
Bryan, Ohio............................May 2, 3, 4
Cincinnati, Ohio .................May 1, 2, 3, 4, 5
Coe College, Iowa.........................May 7, 8
Evanston, 111............May 24, 25, 26, 28, 29, 30
Harrisburg, Pa......................May 1, 2, 3, 4
Mt. Vernon, Iowa....................May 10, 11, 12
Nashua, N. H............................May 17, 18
Pittsfield, Mass...............September 27, 28, 29
Spartanburg, S. C.................... May 2, 3, 4
Springfield, Mass........................ May 4, 5
Toronto, Canada.........April 30, May 1, 2, 3, 4, 5
Urbana, 111.........................May 10, 11, 12
Worcester, Mass.... :............May 7, 8, 9, 10, 11
Foreign
Austrian Music Week, Berlin...................June
Special Opera Week, Berlin...............September
Cassel, Germany..........May 11, 12, 13, 14, 15, 16
Donaueschingen, Germany................July 29, 30
Düsseldorf, Germany.................June 29, July 4
Gothenburg, Sweden..................״June 29, July 2
Frankfurt, Germany. .June 17, 18, 19, 20, 21, 22, 23, 24
Hamburg, Germany...........................May 15
Leipsic, Germany.......................June 2, 3, 4
Munich, Germany...........August 1 to September 30
Salzburg, Germany... .August 8, 9, 10, 11, 12, 13, 14
Zurich, Switzerland....................June 8 to 29
Welsh Eisteddfod.......August 6, 7, 8, 9, 10, 11, 12
and charm of her personality, has a most happy effect on her audience.”
Miss Roma is with the R. E. Johnston Management.
Mme. Cahier in Baltimore
Mme. Charles Cahier, whose recent recital in Baltimore marked the closing number of the artists’ series at Peabody Institute, was enthusiastically received, eliciting the following lavish tribute from the critic on the Baltimore American: “A magnetic commanding personality, a rich and lustrous voice used with fine skill and superb interpretative gifts make Mme. Cahier an incomparable artist. The poignancy, the passion and the intensity of her singing are overwhelming. Her voice is of amazing power and wide range, heroic in proportions, having low tones of gorgeous vibrancy and richness and middle and upper registers of brilliant quality. She is a thorough musician who, in matters of phrasing, shading and diction, seems well-nigh perfect. The whole range of emotional expression is hers and she projects each song with the keenest understanding of its emotional and artistic value.”
The Baltimore Evening Sun agreed that: “She is an artist of great distinction who interprets her songs with a rare intelligence and who sings always with a high enthusiasm.”
Clara Novello Davies to Teach in Paris
Clara Novello Davies announces that from June 15 to September 15 she will teach in Paris. A number of her pupils in New York will accompany her to the French capital, where she will be joined by other students from London. Mme. Davies will reopen her New York studios about October 1.
Rethberg Re-engaged by Metropolitan
Elisabeth Rethberg, heard at the Metropolitan Opera House for the first half of the present season, has been reengaged for next year. Miss Rethberg is now in Europe, but will return shortly to fill an engagement at Ravinia Park, Chicago, in the summer season of opera.
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were Mae Ebrey Hotz and George C. A. Detwiler, with Ednah Cook Smith offering an obligato.
Choral Art Society.
The Choral Art Society, with H. Alexander Matthews as conductor, gave its second annual concert in the Academy of Music, April 12, with Myra Hess as the soloist. The chorus of fifty-six professional soloists did remarkably fine ensemble work in numbers by Palestrina, Rachmaninoff. Roberton, Parker, Tanyef and German, besides folksongs arranged by Brahms, Vogt, Schindler and Williams. Myra Hess played the Prelude, Chorale and Fugue by César Franck with her usual power and finish, later adding numbers by Bridge, O’Donnell and Debussy, also encores.
Samaroff and Rich.
Olga Samaroff, pianist, and Thaddeus Rich, violinist, gave an enjoyable joint recital in the foyer of the Academy of Music, April 19. The program opened with the Beethoven sonata, op. 47, and closed with the Strauss sonata, op. 18. Between these were two numbers for piano and viole d'amour (which instrument Dr. Rich plays as admirably as he does his usual violin), sonata in A minor by Aubert, and fugue by Marchand. Mme. Samaroff, who is a great favorite in Philadelphia, maintained her high standard of playing and was a charming picture as well. These two artists evidenced the height of their art by their ability to work together in an excellent ensemble.
David Pike in Recital.
David Pike, tenor, assisted by Myra Reed-Skibinsky, pianist, appeared in recital at Witherspoon Hall, April 19. Among his numbers were Joseph en Egypte, by De Mehiel; Romance, by Debussy; Le Roi d’Ys, -by Lalo, and This Is the Island of Gardens, by Coleridge-Taylor. Mrs. Skibinsky played compositions by Chopin and Liszt.
Philadelphia Music Club.
The Philadelphia Music Club closed its 1922-23 season on April 20, when the annual spring choral concert and dance was held in the ballroom of the Bellevue-Stratford. The chorus, under the direction of Stanley Addicke, did splendid work and Mr. Addicks’ cantata, Tower of Victory, was much appreciated. The artists assisting were Florence Adele Wightman, harpist; H. W. Cornman, baritone; Helen Buchanan Hitner, soprano, and Amy Brumbach, contralto.
At the last regular meeting of the club on April 17, Arthur Nevin’s Mother Goose Fantasy was produced most delightfully by the club members, Helen Ivory, soprano, taking the leading part. More than two hundred crippled children were the guests of the club for the performance and enjoyed it hugely. The club has had a most successful year under Mrs. Edwin W. Watrous, president.
German Opera Company.
The German Opera Company, which made such a fine impression during its previous visit to Philadelphia, returned April 20 to give the complete Nibelungen Ring cycle, April 20, 21, 23, 24, also giving Hansel and Gretel as a matinee, April 21.	M. M. C.
Lisa Roma Achieves Success
Lisa Roma, soprano, is a young artist who has achieved success through perseverance, ambition, hard work and will power. She was for three years a protégée of David
Kubey-Rembrandt photo.
LISA ROMA,
soprano.
Bispham, who made great prognostications for her future. Subsequently, she was awarded a scholarship with Giuseppe Boghetti, who expressed unbounded faith in her ultimate success. After three years of study with him he proclaimed her a finished artist, ready to establish a place for herself in the world of music.
Miss Roma’s first solo appearance was with Victor Herbert’s orchestra, in the Italian Street Song of his Naughty Marietta. She was called upon, unexpectedly, to substitute for thè scheduled soloist. Her success was instantaneous, but it was not until the next day that the people learned that the artist whom they had so admired was not the one they believed they were hearing, but a new singer who had made good unheralded, and unannounced. Through this success. Miss Roma secured several other engagements, meeting always with an enthusiastic reception.
In addition to many concert appearances, Miss Roma has sung with several important orchestras. A critic very aptly said of Miss Roma : “She thrills with her exquisite soprano. The purity, sweetness and strength of her voice, her perfect enunciation and expression, together with the grace
May 3, 192 3
KANGAROO AND ELEPHANT TOO GOME TO PHILADELPHIA CONCERT
Stokowski Presents Illustrated Version of Carneval des
Animaux—Other Unusual Symphony Programs—Local Music Clubs Have Elaborate Windups—Register of Visiting Artists Lists Many Top Notchers
Philadelphia, Pa., April 22.—The last pair of special children’s concerts was given by the Philadelphia Orchestra, April 9 and 11, at which several novelties were introduced. Leopold Stokowski, conductor, seemingly took the keenest delight in giving the children an interesting program. He began by telling the story of Faust, after which the orchestra played the valse from the Kermesse Scene of Gounod’s opus. The second number on the program was a horn solo, Romance by Saint-Saëns, played by Anton Horner, and prefaced by a brief talk about the horn by Dr. Stokowski. The Animals’ Carnival, Saint-Saëns, came next, in which two little girls, Emily Loeben and Jeanne Behrend, played the difficult piano parts. In the part called Hemiones, Dr. Stokowski surprised the children by haying a little dappled pony brought in. Still more amazed and delighted were the children when during the elephant part, a baby elephant made his appearance. At the Wednesday concert a camel, donkey, dog, three ponies and three elephants appeared. After these exciting events came the Forest Song, Mohring, a quartet for horns played by Anton Horner, Joseph Horner, Otto Henneberg and Albert Riese. The program closed with the lively and popular William Tell overture by Rossini.
The program presented by the Philadelphia Orchestra, April 13 and 14, included Romeo and Juliet, by Tschaikow-sky, and the Faust Symphony in three Character Pictures (Faust, Gretchen and Mephistopheles) by Liszt. A special feature of the last number was the singing of a male chorus of fifty voices with Arthur Hackett, tenor, as soloist.
The Philadelphia Orchestra, Dr. Stokowski conducting, presented one of the most inspiring and satisfying Wagner programs that has ever been heard here at its concert of April 20 and 21. The program was composed of excerpts from the Ring as follows : Entrance of the Gods into Wai-halle and Invocation of Alberich to the Niebelungen, from Das Rheingold; Ride of the Valkyries, Wotan’s Farewell and the Fire Music, from Die Walküre; Forest Murmurs and Siegfried mounting through the flames to the rocky height on which Brünnhilde lies in sleep, from Siegfried ; Siegfried’s Rhine Journey, Death March, and closing scene from Die Götterdämmerung. The enthusiasm of the audience was unbounded.
Harvard Glee Club.
The Harvard Glee Club gave an excellent concert at the Academy of Music, April 16. On account of the unavoidable absence of Archibald T, Davison, conductor, the club was conducted by V. G. Thompson, a senior at Harvard. The program included difficult numbers by Palestrina, Swee-linck, Bach, Boulanger and Holst, with lighter numbers by Morley, Ropartz and Bossi and groups of Russian, Scotch and Irish folksongs, closing with the Cum Saneto Spiritu from the B minor Mass of Bach. The members of the club who appeared as soloists in the various numbers were N. L. Bean, tenor; James E. Mitchell, baritone; James R. Houghton, baritone, and Cedric M. Hastings, baritone.
Metropolitan Opera Company.
The Metropolitan Opera Company closed its Philadelphia season with L’Africana, on April 17.
Paderewski Gives Second Concert.
Paderewski returned to Philadelphia after his transcontinental tour to give a second recital before a crowded house. His program was entirely devoted to Chopin, in which he is supreme, and included fantasia, op. 49; five preludes, Nos. 15, 16, 21, 17 and 24; two nocturnes; ballade in A flat; scherzo B flat minor; barcarolle No. 6; five etudes, No. 6, op. 25, No. 10, op. 10, and Nos. 7, 8 and 11, op. 25 ; sonata, op. 35; mazurka, op. 17, No. 4; a valse and polonaise, op. 53.
Philharmonic Society.
The final concert of the Philharmonic Society was held April 8, in the Academy of Music, with an enlarged orchestra of 115 players under Josef Pasternack’s direction. The soloist of the evening was Florence Easton. The size of the audience and the degree of applause bespoke the wide interest and pleasure in this concert. The soprano, in her usual delightful and finished style, sang Ocean, Thou Mighty Monster, from Weber’s Oberon; Schubert’s Die Allmacht and Du Bist die Ruh ; Ständchen by Strauss ; graciously adding several encores. The numbers played by the orchestra were Beethoven’s, fifth symphony; Notturno, by Mar-tucci; Afternoon of a Faun, by Debussy, and Tschaikow-sky’s 1812 overture. The concert was a distinct success from every point of view.
Matinee Musical Club.
The Matinee Musical Club gave an all-Wagner program at its concert of April 10. The numbers were as follows: piano ensemble from Die Meistersinger (Agnes Clune Quinlan, director), with Adelaide G. Brinton, Loretta B. Kerk, Katherine C. Loman, Agnes Rappengluck, Elsie Tucker and Helen Bader Yost at the pianos; soprano solo from Tannhäuser by May Farley, Helen Boothroyd Buck-ley at the piano ; violin solo from Die Meistersinger by Nina Prettyman Howell, accompanied by Loretta B. Kerk ; baritone solo from Tannhäuser by Horatio Connell, with accompaniment by the club orchestra ; Thaddeus Rich’s rendition of two selections; soprano aria from Lohengrin by Maude Ranson Pettit, with cello obligato by Effie Irene Hubbard, Elsie Tucker at the piano; baritone solo by Horatio Connell from Die Walküre, with piano obligato by Dorothea Neebe Lange and Evelyn Tyson, Helen Boothroyd Buckley, accompanist.
Walter Damrosch Lecture-Recital.
Walter Damrosch gave the fourth and last of his series of Wagnerian lecture-recitals at the Bellevue-Stratford, April 11, under the auspices of the Matinee Musical Club. The subject was Götterdämmerung and was treated with Dr. Damrosch’s keen insight and delightful illustrations upon the piano.
Choral Society Concert.
The Choral Society of Philadelphia gave its annual spring concert at the Academy of Music, April 11, under Henry Gordon Thunder’s direction. The assisting soloists