31 MUSICAL COURIER May 10, 1923 vocally and artistically, deserves highest praise. One may safely say that Signor Gurrieri has every reason to be elated on having Mr. Roxas as his. sole teacher. To put it mildly, Mr. Gurrieri scored a decided success, and gives every promise of a brilliant future. Others in the cast were:. Consuela Escobar, who won much applause as Gilda; Ada Paggi, as Maddalena; A. Cincolani, as Giovanna and a page; Maria Brenna, as Countess Ce-prano,” Joseph Royer, as Rigoletto; A. Valenti, as Spara-fucile; Carlo Coscia, as Count Monterone; Enrico Man-chi, as Marullo, and G. Paltrimeri as Borsa. The orchestra and chorus did exceedingly well under the capable direction of Signor Roxas, who proved himself a conductor of high ideals and unusual ability. The theater was filled to capacity by an audience which was not slow in recognizing the merits of the performance. Numerous curtain calls were given Mr. Gurrieri, Mme. Oscobar, Mr. Royer, as well as Signor Roxas. Universal Concert Bureau, Inc. Announces that after June I, 1923, they will have the management of CAHIER The American Contralto with International Fame “Mme. Cahier is the Carmen of whom I have dreamed.”—Victor Capoul, Paris Grand Opera. BALDWIN PIANO USED 17 East 42d Street, New York City and Barbiere a rich, resonant baritone voice; Sophie Stein, a soprano with a good range and volume, who sang the Micaela aria from Carmen; Adelaide Vilma, whose clear, flexible coloratura voice was heard in Lo! Here the Gentle Lark, and Frances Mayer, a violinist who played with feeling and good tone and technic a Wieniawski mazurka and several violin obligatos to Miss Stein’s-songs. The audience enthusiastically recalled all the artists for encores. Clemente de Macchi was at the piano' for all the assisting soloists. Stransky Conducts in Spain Josef Stransky, who will lead the State Symphony Orchestra of New York, Inc., this coming season in its fourteen subscription concerts (four Wednesday afternoons and four evenings at Carnegie Hall and six Sunday afternoons at the Metropolitan Opera House), made his bow on April 18 at the National-Theater at Barcelona, Spain, conducting Wagner’s opera, The Flying Dutchman, ajid is reported to have been spontaneously acclaimed by the press and public alike. Ignaz Friedman, the well known pianist, has been added to the list of soloists, which already includes Maria Jeritza and John McCormack. Horace Britt, the Belgian cellist, is another addition to the personnel of the orchestra. He will lead the cellos and also appear as soloist. Theodora Morgan Stephens Busy in Atlanta Theodora Morgan Stephens, sister of Geraldine Morgan (deceased) was the solo artist for the Metropolitan Theater Orchestra, Buel B. Risinger, conductor, in Atlanta, April 4, under the auspices of the Atlanta Music Club. She played the romance from the second concerto (Wieniawski). She is chairman of the committee of representative Atlantans who will give a mammoth concert in which boys and girls playing orchestral instruments will unite. She has many pupils in her school of music, has charge of violin classes in the public schools and is a most important figure in the musical life of this southern city. Alma Simpson Sings at Police Convention and Sails Alma Simpson, after being back from her European concert tour only a little over a week, filled two important engagements in New York, the first being when she appeared as soloist at the testimonial dinner at the Astor for the Honorable Mr. Enright, and the last when she sang for the big Police Convention dinner to the foreign delegates at the Hotel Commodore on May 1. Saturday, April 28, Miss Simpson sailed to fill engagements in the West Indies, where she was contracted to appear soon after her •success in Havana last year. The first recitals will take place in San Juan, Porto Rico, with others to follow in Ponce, etc. The soprano’s knowledge and study of Spanisn song literature, her beauty and fascinating personality, have made her a special favorite with Latin audiences. Slecna Bozka, as usual, sailed with Miss Simpson as accompanist. Suzanne Keener Sings Scott Songs Suzanne Keener, the charming young prima donna of the Metropolitan Opera, is singing two of John Prindle Scott’s songs on most of her programs these days. The Wind’s in the South opened her song group at a recent Sunday night concert at the opera house, and she also sang it in Brooklyn, Montreal and Pittsburgh. She has been featuring Mr. Scott’s False Prophet also, and will include this among her songs at the May festival in Ann Arbor, Mich. Important New Facts About Maria Carreras Following her triumphant concert at the Town Hall on April 24, when the receipts were about $2,400—and this her third recital of the present season—•Maria Carreras was engaged by the Universal Women’s Alliance, which held its congress in Washington from May 1 to 5, for a concert there on May S, being chosen as the representative woman pianist for the Hall of Fame, which is soon to be erected in the national capital. Mme. Carreras is Italian by birth and was a pupil of Giovanni Sgambati. On the occasion of the tenth anniversary of Anton Rubinstein’s death she was invited by the late Czar of Russia to play at the memorial services in Kieff. Mme. Carreras has also been engaged to appear as soloist with the Cleveland Orchestra in that city on November 15 and 17. She recently signed a long contract with the Duo-Art and during the month of June will play five concerts at the National Theater of Havana, Cuba. Rigoletto Well Given A very good performance of Verdi’s Rigoletto was presented on Saturday evening in the Lexington Opera House. The opera was given primarily to introduce Giovanni Gurrieri, a young Italian tenor and artist-pupil of Emilio A. Roxas, who discovered the young man. Signor Gurrieri, who never had any singing teacher but Maestro Roxas, is hard at work studying voice placement and repertory. Those who heard him in the role of Duke of Mantua at this performance were surprised at the quality of his voice as well as his finished delivery. While young Gurrieri must be looked upon as an extraordinary “find,” it was evident, from his artistic work, that Signor Roxas, who already has brought him to so high a point SIDE LIGHTS ON EFFICIENCY IN VOICE PRODUCTION Timely Truths Tersely Told By W. WARREN SHAW K nowledge is Power. N ever doubt this fact. O nly those who know the truth are safe. W hen we apply this truism to particular subjects L ife in all its phases becomes more interesting. E ndless chains of wisdom are soon established. D rones only exist—they do not truly live. G o where you will and observe this truth, E verywhere and among all people. “I s life worth living?” asked the hypochondriac. Some wit replied: “It depends upon the liver.” P sychology, Physiology and Philosophy are 0 rderly, Scientific Considerations W hich have to do with vocal problems. E very faculty of mind and body is used in Singing. R ich rewards are for wise and earnest students. E very vocal method T hat is worthy of consideration E mphasizes the fact that R esonance is largely influenced by the N asal cavity A nd that such resonance is L ost or greatly diminished and that the V oice is greatly impaired 1 f we neglect or permit ourselves to G row careless in our attention to sound. If our judgment of sound is not good.we L ose our best guide to beautiful singing—Bel Canto. A fter natural fundamental tone comes N asal resonance, which does not mean nasal quality. C onsideration of these two things promotes E ase and beauty of voice production. P radically perfect tone is within the reach of all. L et the first object be to get rid of interference. U nless you understand the cause and can remove it S eek to learn how—It will pay abundantly. W ith sound knowledge concerning voice production I mmediate and positive success is easily attained. L ose no time in discarding mooted fallacies L est your teaching be neither comprehensive nor convincing. P oor, suffering, misguided vocal pupils are in the majority. 0 f all lambs led to the slaughter they are the most to be pitied. W hen they are practically taught the truth . E very one of them will go forth Rejoicing in their newly acquired vocal ability. and physical control T ones are educated and developed sounds easily under mental H earing these correctly is the greatest necessity. Every tone should first be judged by a competent׳ teacher. P eople do not at first hear themselves as others hear them. R estraint in singing is the antithesis of freedom. 1 f you would sing well, enunciate and pronounce well. C oncentration in study is of vital importance. E very one with musical talent can be taught to sing. O nly those without it should never try. F ear is frequently developed in the singer by false vocal methods Superior vocal methods greatly facilitate progress. Unless the vocal teacher knows the voice, look