MUSICAL COURIER (iti May 3, 1923 these cities: Topeka, Wichita, Tulsa, Oklahoma City, Dallas, Ft. Worth,. San Antonio, Galveston, Houston, Meridian, Little Rock, !Memphis; and in February Birmingham, Nashville, Louisville, Dayton, Cincinnati, Chattanooga, Atlanta, Jacksonville, Tampa, Savannah, Charleston, Washington; iji . March he visited Charleston (W.Va.), Pittsburgh (Carnegie Hall), St. Louis and Kansas City. During May and June he will tour the Eastern states of Pennsylvania, Connecticut, New York and through Canada; Ottawa, Montreal, Quebec, etc. In every city he was remarkably successful in winning splendid press comments. We quote from the Washington, D. C. Times: Mr. Capoulliez has a voice that is pleasing. He is evidently a finished product musically. His diction is perfect and his breath control marvellous. The concert was thoroughly enjoyed by a large audience to which the artist appealed in unusual manner. He is a stranger in Dayton, this being his first appearance here, but so thoroughly was he enjoyed and so rich and velvety his voice that any other concerts in which he may appear are already assured of success.—Dayton, Ohio, Daily News. Capouilliez appeared in a program that was distinctly different from the kind one is accustomed to hear, in that it contained many rarely heard compositions of the well known composers. Capouilliez made a very favorable impression with his first group of songs, which deepened as the program progressed. His voice is rich and mellow and of a very pleasing quality, and he has a dramatic temperament with which he colors changing sentiment in each song, several of them being almost acted.—Nashville Tennessean. The Stroller Entranced by Nyiregyhazi Mr. Chapman of the Rubinstein Club selected Erwin Nyireghyhazi, the young pianist, for the Maine Festivals next fall, whereupon The Stroller was so delighted that he expressed his enthusiasm in a long column in the Portland Evening Express—part of which follows: When I read that Mr. Chapman had booked Erwin Nyiregyhazi I was again convinced of the almost uncanny power the director of the festivals has in picking winners before they have attained the countrywide fame that is really their due. It was Mr. Chapman that introduced Galli-Curci to this part of the United States sometime before that superb soprano had made her sensational New York debut—to say nothing of the many other singers who have become world famous. It just happens that I know something of this great artist. Indeed, Nyiregyhazi did me the honor to play in private for me at a little impromptu concert just about a year ago in the Knabe establishment on Fifth Avenue in New York City. We were entranced by the youthful pianist’s brilliant playing. When he first came over he wore his hair with a Dutch cut that hid his ears and gave him a rather distinguished appearance. When 1 met him in New York last April the long locks had vanished and 1 hardly recognized him. He was wearing natty American clothes. “They made me cut my hair short,” he said to me. “How do you like it—this way or the other way?” When he plays you wonder where all the dynamic force comes from, for one of the marked characteristics of his playing is his tone producing power. He is in his early twenties, and he has a most brilliant future ahead of him. He made a tremendous impression this season, and only a short time ago I received a letter from Merle Armitage of Los Angeles telling me what a hit Erwin had made in California. He said in part: “Nyiregyhazi gave six concerts under our management in southern California, each one, including the Los Angeles appearance at Philharmonic Auditorium, to capacity audiences. To relate the facts sounds wild enough, for I have never seen such *excitement at a recital of music for the piano. At his first concert he played fifty minutes of encores and at his second concert fifty-two minutes of encores were demanded by 3,000 people who cheered this lad like a football hero. He is painfully modest but co-operated with us in everything we asked him to do. He was photographed in high powered cars with movie stars and was the guest at a dozen receptions and social affairs during his stay out here. A recital by Nyiregyhazi is about two hours of thrills.” So you see what a treat is in store for you at the Exposition Building next October when he will be the feature of the second night’s concert. Meisle and Barstow in Bridgeport Kathryn Meisle, contralto, and Vera Barstow, violinist, recently gave the final concert of the musical series of the Wednesday Afternoon Musical Club at Bridgeport, Conn. The largest audience of the season greeted them and the press was most enthusiastic as the following notice from the Bridgeport Evening Star, April 12, shows: The last artists’ concert of the season of the Wednesday Afternoon Musical Club was, with the exception of the Myra Hess concert, the best of the year. Vera Barstow, violinist, and Kathryn Meisle, contralto, not only presented a most interesting program but their artistic work brought forth the most enthusiastic plaudits of one of the biggest audiences at any of these concerts. . . . Miss Barstow introduced several new compositions, all of them well worth while. She obtained a nice rounded tone from her instrument and her technic was excellent. Her intonation was correct at all times and not the least admirable was her very pleasing personality. She had a most able assistant at the piano in the person of Gladys Barnett. In response to appreciative applause she gave two encores—Songs My Mother Taught Me (Dvorak), and Liebesfreud (Kreisler).....Miss Meisle proved to be that rarity nowadays, a contralto who is content to be one, and who has no aspirations to be a soprano or a mezzo-soprano. Her voihe is well placed, is deep, rich and warm. She has a splendid range and the contralto quality carries throughout its extent. Her power is rather extraordinary and she handles her voice splendidly. The songs she presented yesterday covered a wide range both in language and in theme and all were done full justice. Particularly beautiful was Transformation (Wintter Watts). It is a distinct treat to hear such artistic work coupled with a voice that is so beautiful a means of expression. Miss Meisle was accompanied by Erl Beatty who gave her admirable support. She sang two encores, the lovely O Memory (Rudolph Ganz) and The Bond Unbiddable Boy (Stanford). Available for concert appearances in America Entire Season of 1923-1924 Booked Exclusively Through the Mischa Elman Concert Direction MAX ENDICOFF, Manager 728729־ Aeolian Hall New York STEINWAY PIANO VICTOR RECORDS Dolinanyi's. In the Liszt piece Miss Umnitz gave an inspiring performance of digital expertness, combined with a sureness of herself that brought a veritable ovation of applause. And it was every bit deserved. Greta Rost and Foster Why Please Again in London Greta Rost, contralto, and Foster Why, bass, have won more success in the English Capital. A few press comments of their second recital follow: The second recital given by Greta Rost and Foster Why at Aeolian Hall on Thursday evening deepened very much the impression derived from the first. Both have fine voices and sing with the assurance derived from cultivation and experience. Miss Rost is a rich contralto and Mr. Why a bass-baritone of ringing quality.—Referee. They presented a selection of songs strangely varying in artistic GRETA ROST AND FOSTER WHY merit and rendered all with like wealth of tone and objective expression.—Musical News and Herold. There was a large audience for the second recital of Greta Rost and Foster Why on Thursday evening last. The first recital was given last October when these two gifted artists made their first appearance on an English concert platform. They had a most enthusiastic reception and their fine renderings were greatly enjoyed.—Musical Opinion. Very well deserved was that excellent reception given Greta Rost and Foster Why. Both artists exhibited again that notable combination of gifts by which they won the favor of London three months ago.—Lloyd News. OPINIONS OF THE PRESS (׳Continued from Page 55). Cornell Pupil Creates Fine Impression in Holyoke, Mass. Rose Des Rosiers, a talented young soprano-pupil of A. Y. Cornell’s, created a fine impression in her home town, Holyoke, Mass., when she appeared in a song recital at the City Hall Auditorium on Wednesday evening, April 11. Miss Des Rosiers has been in New York working under Mr. Cornell for the last year and her friends were much interested in the progress she has made since last heard in that city. Charming in appearance and with all the poise that could be desired, she went through her varied program admirably, revealing a voice of natural beauty which has been well schooled. The concert was a great success, both artistically and financially as one thousand dollars was raised with which Miss Des Rosiers will be able to continue her studies. The appended excerpt from the Holyoke Telegram is worthy of a glance, for it touches on the promise of a most successful career ־ The old saying that “One is never a prophet in one’s own town” was completely side-tracked yesterday, when Rose Des Rosiers, a Holyoke girl, who had come back to report progress in her training as a singer, really astounded her audience, in spite of the seventeen numbers on her program, the audience sat and called for more of the splendid variety of classics which this debutante pupil recitalist has mastered to the high mark of artistry. After reading the impressions of reliable experienced operatic and concert artists. Holyoke expected much improvement from one who has only eight months of regular training to vouch for, but the verdict of the most sceptical was that the audience got far more than was expected. The singer was handicapped for having sung so many times before most of her hearers, during the several years spent in and around Holyoke before entering the Cornell Studios; then again several requests *had been made that her decision to use the city hall auditorium be reversed on account of the unfavorable acoustics of the hall and so on. But the success of Miss Des Rosiers satisfied all that the confidence placed in her by both teacher and critics was fully warranted, and the complete transformation of this pupil, as a singer in so short a period speaks highly for Alfred Y. Cornell, who is admired by a large following, as a plain unostentatious hard working teacher. Forrest Lamont’s testimony bears out this fact, when, after having traveled all over Europe and the two Americas, he strongly advised Miss Des Rosiers to stay with A. Y. Cornell until she has completed her preparation for a career. The recital, as summed up by critics from Boston, Springfield and Manchester, N. H. studios renders the verdict that Holyoke’s promising artist pupil has a voice of intense dramatic power, shifting freely to luscious lyric tones, and capable of rising into the light bird song sphere of coloratura style. The prolonged applause added to the program a pleasing rendition of Airs des Bijoux, from Faust, Birthday by Woodman, and The Little Damosel, one of Galli-Curci’s favorite numbers. Many floral tributes and the gathering of numerous admirers around Miss Des Rosiers at the close of the recital showed that Holyoke was proud of her and wished her Godspeed in the work of completing her successful training. An Oscar Saenger Artist Soloist with Young Men’s Symphony Phradie Wells, soprano, scored an emphatic success at the concert given by the Young Men’s Symphony Orchestra at Aeolian Hall, Sunday afternoon, April 22. The New York press had the following to say of this young artist: If the graphic curve indicating the progress made by Phradie Wells, the soprano soloist with the Young Men’s Symphony Orchestra, yesterday afternoon at Aeolian Hall, continues as hereto, it is safe to predict that here will be one of our real Wagnerian sopranos. Yesterday she sang Dich Theure Halle from Tannhäuser as her first solo, and sang it in a way that was thrilling. She has excellent stage presence, and youth, and a notable breath control; and to these is added a brilliant, rich voice of volume and ease^ in manipulation. Hers is really the story of the afternoon.—New York World, April 23, 1923. Miss Wells displayed a voice of fine dramatic power.—New York Herald, April 23, 1923. Greta Rost is clearly a contralto of distinction. She has a rich and pure tone, easily produced, a tone capable of coloring to meet the record of a song and a very fine breath control.—Musical Opinion. It must have been most gratifying to all concerned to note the splendidly full house, and the applause at Aeolian Hall on Thursday night. Encores numerous and the general management reflected the success of Daniel Mayer and Company. Greta Rost favored song to her own accompaniment and her massive tone made considerable appeal. Of Foster Why it is a great pleasure to record the freedom with which he uses his bass-baritone, an excellent model for aspirants in this direction. His selections had an ... . masculinity of delivery that was infectiously invigorating. In Marzial’s duet, Friendship, the two joined forces to the immense pleasure of a well gratified audience.—Era. There was a youthful freshness in the voice of Phradie Wells, soprano, whose splendid singing of Elizabeth’s aria from Tannhäuser, came as a surprise to a New York audience. She looked the part, and sang the music with a commanding volume and quality of tone. If the young musicians of America are to be encouraged in their art such concerts as this should be frequent and popular.—New York Evening Mail, April 23, 1923. Miss Wells’ voice is clear and powerful.—New York Tribune, April 23, 1923. Maurice Aronson Artist-Student Scores with Orchestra Miss Rost is the embodiment of musical energy. Foster Why’s powerful and sympathetic voice was equally at home in English, French and German songs.—Daily Graphic. If we might judge from the attendance at their recital last night, it might be assumed that The Whys have in a very brief time acquired a remarkable following in London since not a seat in the house was unoccupied and hard working critics were compelled to stand. Miss Rost is indeed an effective singer. Mr. Why with his big rolling tones found plenty of favor.—Westminster Gazette. Baritone Capouilliez Returns from Long Tour Francois Capouilliez, basso cantante, has been on a long concert tour since last October, visiting almost every important city of the country. During January he appeared in Amelia Umnitz, artist-student of Maurice Aronson at the Chicago Musical College, recently appeared as soloist with the Erie Symphony Orchestra (Erie, Pa.), and is referred to as follows by the Dispatch-Herald of that city: ... It was after this number that Miss Umnitz made her appearance, playing with the orchestra the Chopin andante spianato and polonaise. This composition is filled with pitfalls for the unwary but Miss Umnitz betrayed not the slightest fear of the obstacles that are to be encountered. She played the piece in the most thorough-going fashion, exhibiting unexpected technic and expression and a sympathetic understanding. Her touch throughout was delicate but sure and she played with a vim from start to finish. Miss Umnitz is young; she has been well grounded in the piano and, if she decided to g