May 10, 1923
MUSICAL COURIER
64
AMUSEMENTS
B’way and 38th Street. Evenings 8:15 Matinees: Wed. & Sat. at 2:15
KNICKERBOCKER THEATRE
Pop. Wed. Mat. Entire 1st Bale. $1.00, 2d Bale. 50c., Orch. $2.00 Henry W. Savage offers The Comedy with Music Sensation
“The CLINGING VINE״
with PEGGY WOOD and a Brilliant Singing Cast
Book and Lyrica by Zelda Sears	Music by Harold Levey
B’way at 61 it St. "Subway to Door” EDW. BOWES, Mng. Dir.
CAPITOL
World's Largest and foremost Motion Picture Palace
Beginning Sunday, May 13th
CHARLES RAY
IN
"THE GIRL I LOVED”
CAPITOL GRAND ORCHESTRA
Erno Rapee Conducting CAPITOL BALLET CORPS—SOLOISTS
(Presentations by Rothafel)
iParcurwwil Oicticres^
Theatres under the direction of Hugo Riesenfeld
The RIVOLI broadway at 49th st. ”ENEMIES OE WOMEN”
With Lionel Barrymore and Alma Rubens By Vicente Blasco Ibanez A Cosmopolitan Production Rivoli Concert Orchestra
The RIALTO broadway •t nA st.
WALTER HIERS in
"SIXTY CENTS AIM HOUR”
With Jacqueline Logan Captain F. E. Kleinschmidt’s "Adventures In the Far North”
Famous Rialto Orchestra
serious music should have a hearing whether their music seems attractive to the publishers or not, and also because he feels that published music has already had some recognition, while manuscripts will remain forever buried unless someone takes the trouble to unearth them.
Not that Mr. Pettis entirely approves of the attitude of some of the composers, for some of them are too lazy to send their works' around to the publishers, too lazy to make copies of them even when they have an opportunity to have them played. But he believes that good work should be brought out nevertheless,* and is demonstrating his belief by doing it.
It will be noted that on the following program Mac-Dowell’s name appears. Mr. Pettis says that on every all-American program MacDowell should be represented. He is right. And his reason for omitting some other well known names, like Carpenter and Griffes is that just now everybody is playing these composers’ works and they have no need for further championship.
The program, which Mr. Pettis will first use when he begins his tour in California in October, includes a choral-prelude and fugue by Albert Elkus; Preludes by Deems Taylor; Dusk on a Texas Prairie and The Jester, by Viola Beck van Kalwijk; A Gringo Tango, by Eastwood Lane; Two Preludes, by Frederick Jacobi; several compositions by Marion Bauer and Rosalie Hausmann, and MacDowell’s Sonata Eroica.
Schelling Here Next Season
Ernest Schelling, American pianist and composer, will be under the exclusive direction of Concert Management Arthur Judson hereafter. Mr. Schelling’s 1923-1924 season will begin on December 1 and will extend throughout the rest of the musical year. Mr. Schelling’s A Victory Ball was one of the outstanding American compositions of the past season and had the unusual distinction of being presented in New York by two symphonic organizations—the Philadelphia Orchestra, under Leopold Stokowski, and the Philharmonic Orchestra, under Willem Mengelberg. M!\ Schelling will be heard next season as soloist with orchestras, in recital, as conductor and as composer.
Whistler Pupil Charms in. Hoboken
Margaret Marotta, whose lovely voice charmed everyone at the musicale given by Grace Whistler a short time ago, gave a very interesting song recital in Hoboken, April 29, in honor of the confirmation of the two little daughters of Mr. and Mrs. Harry Foley. Mr. Foley is secretary for United States Senator Edwards. She sang Melba’s Waltz Song by Arditi, an aria from Boheme and a collection of interesting English songs. Everyone predicts a splendid career for this young lady, and with the careful and efficient work with Mme. Whistler, it is doubly assured.
Silingardi Takes Russians to Mexico
Innocenzio Silingardi, the impresario, informs the Musical Courier that he has signed a contract with S. Hurok to take the Russian Grand Opera Company on a sixteen weeks’ tour through Mexico, Central America and Cuba. The company will open in Mexico City on May 26, and play there six weeks. This contradicts an earlier report that this same company would visit Mexico under the direction of Andres de Segurola.
Musical Comedy, Drama and Motion Pictures
mark, played with verve and careful attention to nuance by the Rivoli Orchestra, under the direction of Josiah Zuro and Emanuel Baer. Music lovers who are in the habit of attending the Rivoli will, welcome with sincere appreciation the return of Mr. Zuro, whose capable hand was evident at once in the performance given by the orchestra. The color organ, known as the Clavilux, invented by Thomas Wilfred, which had been seen before at this house, occupied a prominent place on the program. George Vail, at the console, succeeded in producing what was truly a symphony in color. The Serova Dancers—Alma, Helen, Hedwig, Elma and Lucia—delighted with a characteristic dance to the music of Leo Delibes’ Czardas. Thomas Meighan, who has come to occupy a prominent place in the affections of motion picture audiences, was the cinema attraction in that popular work of Rex Beach, The Ne’er Do Well. Too many liberties had been taken with the story as written by Mr. Beach to please the writer, but those unfamiliar with the story declared themselves delighted with the work. The Rivoli Pictorial and a Max Fleischer Inkwell cartoon completed the program.	May Johnson.
Programs by Saenger Students Enjoyed
The series of concerts at the Wurlitzer auditorium by Oscar Saenger students and the Thursday afternoon teas at the Saenger studios during the season have been very well attended. It is easy to see why they have gained in popularity as the season progressed. One is assured of hearing artistic singing from Saenger students, and there is always a pleasing atmosphere of hospitality at the studio.^
An interesting concert was given at the Wurlizer audi-׳ torium Wednesday afternoon, May 2, when students of the
OSCAR SAENGER
Oscar Saenger opera class appeared in opera scenes. The scenes were presented without scenery, and were given with a spirit and understanding of the situations rare in young artists.
The program included scenes from the following: Pagliacci, sung by Paul Flood (Tonio) and Ella Mylius (Nedda) ; Masked Ball, Eri Tu, Norman Yanowski; Lohengrin, Louise Wagner (Elsa) and Florence Munzer (Ortrud) ; Merry Wives of Windsor, drinking scene, George Walker and chorus—Messrs. Hunter, Flood and Yanowski; Cavalleria Rusticana, Paul Flood (Alfio) and Phradie Wells (Santuzza) ; Faust, church scene, Ella Mylius (Marguerite), George Walker (Faust) and chorus. All disclosed beautiful voices and decided talent for both singing and acting.
Mr. Flood, who demonstrated the Saenger records before the operatic program and who announced all the artists, sang the roles of Tonio and Alfio effectively, with pleasing vocal quality. Mr. Walker had sung the drinking scene professionally in Germany over 100 times, and his resonant, baritone voice and finished style of singing were appreciated. Miss Wells found favor again with the audience; with her dramatic voice she is well suited to Wagnerian roles. Ella Mylius and George Walker were most effective in the church scene and Mr. Yanowski, who has a baritone voice of good volume and timbre, gained much applause after his solo, Eri Tu. Louise Wagner and Florence Munzer were excellent in their scene between Elsa and Ortrud. With no scenery, properties or costumes, they were able to create the appropriate mood and to make one feel that here were a real Elsa and a real Ortrud.
Willis Ailing was the capable accompanist in charge, assisted by John Daley, pianist, and Wendell Glover, organist.
The last Saenger studio musicale of the season was given Thursday afternoon, May 3, when a delightful program was presented by Mary Louise Wagner and Louise Rhondda, sopranos; Richard Hale, baritone, and George Walker, basso. Hale was in especially good voice and sang two groups of songs with lovely tone quality and exquisite nuance. George Walker sang with fine spirit Falstaff’s Drinking Song from The Merry Wives of Windsor. Miss Wagner again displayed a beautiful soprano voice and much temperament in Pleurez mes Yeux and a group of_ songs. Miss Rhondda also disclosed a brilliant soprano voice, talent and temperament. Emily Miller and John Daley were the skillful accompanists. Elsa Warde and Dorothy Branthoover were hostesses at the tea table.
Pettis to Play All-American Program
Ashley Pettis, brilliant young pianist and enthusiastic American, is preparing a program for next season which will be not only all-American, but will also be made up largely of unpublished works.
It will be remembered that during the past season Mr. Pettis included a number of works by American composers on his programs. Some of them were in manuscript, and his use of these works brought results of the most practical sort to at least one of the composers, for it was solely on account of the efforts of Mr. Pettis that a publisher was found for it.
Mr. Pettis himself says that his reason for playing manu-cript works is chiefly because he feels that composers of
Despite the fact that the theatrical season is slowly waning and summer musical revues are taking the limelight, last week had several openings.
The Russian Opera Company, after a year of touring the country, came again to the Jolson Theater for an indefinite run, though indications are that it will be a very short season. It is a potpourri and called A Night of Love.
A second attempt at presenting a Jewish play translated for local consumption, was in the presentation of The Inspector General, with Maurice Swartz as the star. As with Anathema, Another Jewish drama which closed after an uneventful stay, The Inspector General also occupies the Forty-eighth Street Theater. From all indications this second attempt will sink below the surface, not even leaving a ripple.
My Aunt from Ypsilanti, a comedy, opened at the Bijou Theater also last week. The cast contains many well known names, and strive as they might it seems to have been a long struggle. The play is an adaptation of the French of Gavault by Harry (Henry) Baron. It is problematical, the fate of My Aunt from Ypsilanti, but it may surprise everyone and have sufficient following to stay for a few weeks.
The fourth opening of the week was Pride, a three-act play by Thompson Buchanan, at the Morosco Theater. Hilda Spong was among the bright spots of the production. There were varied and sundry criticisms of this newest offspring. There is both good and bad criticism but most reviewers seem to agree that it may stay for a while.
The Hippodrome.
The fate of the Hippodrome, New York’s largest playhouse, is still undecided. One day the report is that a mammoth hotel will occupy the famous site, and then again there are conflicting stories regarding new ownership. This is the time of the year for general house-cleaning and it is not surprising that we receive varied and sundry reports. The Hippodrome has existed for eighteen years. The season closed with considerable interest on the part of the public, the management claiming 10,000 persons attended the last two performances. There was considerable celebration on the part of the entire company and the managerial staff.
Closings.
Among the plays which ended last week was Kiki, at the Belasco, having played seventy-five consecutive weeks.
Chauve Souris, the Russian Company headed by Balieff, ended with a record season of sixty-five weeks. Mr. Gest promises that the Russian Company will return to New York in the early fall.
Ethel Barrymore’s play, The Laughing Lady, will close a successful season at the Longacre.
Papa Joe, at the Lyric, followed suit. The Inspector General also closed before we could go to press. _ Elsie, a rather attractive little musical comedy, did not survive long at the Vanderbilt, nor did The Exile at the Cohan, Sylvia at the Provincetown, and Cyril Maud and his imported company of If Winter Comes, at the Gaiety.
A New Art Theater.
We have a new art theater—this time the Ethiopia, a company of negro piayers which began a season of repertory at the Frazee Theater. The opening play is Oscar Wilde’s Salome. This company first came into prominence last season by playing in Chicago, and the young woman who interpreted the part of Salome received unusually good criticism for her work.
The Strand.
Selections from II Trovatore, played by the Strand Symphony Orchestra, Carl Edouarde conducting, opened the program at the Strand last week. Kitty McLaughlin, soprano, and Fernando Guarneri, baritone, sang the duet from that work, thereby adding to the effectiveness of the number. Norma Talmadge, in Within the Law, did some excellent work, and as a prologue to the feature there was a street dance by Anatole Bourmann and Mile. Klementowicz to a medley of old time melodies that scored a distinct hit. The Strand Male Quartet, looking very much as if they actually did belong to the New York police force, sang Botsford’s Four of the Finest in their usual excellent style. The Mark Strand Topical Review, a new Earl Hurd comedy, The Movie Dare Devil and the organ solo by Percy J. Starnes, Mus. Doc., and Ralph S. Brainard, completed the bill.
The Capitol.
The feature picture at the Capitol was Backbone, adapted from a story by C. B. Kelland. The principal theme of the musical score was especially composed by Lewis Gens-ler.
The feature musical number was presented by the young pianist, Nadia Reisenberg. She played Paderewski’s Polish Fantasie. Her performance was very creditable. Aside from the fact that she displays considerable technical skill for one of her years, she also has a remarkably good interpretation.
The orchestra, under the direction of Erno Rapee, again played the Tschaikowsky 1812 overture, and, as upon many occasions in the past, Mr. Rapee directed the number with consummate musicianship. His musicians played this favorite selection as well as any of the symphony orchestras heard here this past season. As a divertissement Mr. Roth-afel offered Impressions of the Fortune Teller, Victor Herbert. The number was accompanied by the orchestra, the entire Capitol ensemble taking part in addition to the ballet corps and principals. The soloists were Desiree LaSalle and Evelyn Herbert. J. H. Mason and J. P. Coombs also took part. The program ended with an organ selection by the chief organist, Dr. Maura Cottone.
The Rialto.
Pola Negri’s new picture, Bella Donna, proved to be such a drawing card that, after two weeks at the Rivoli, the film was shown at the Rialto. The same musical program which was offered at the other theater was reproduced at the Rialto. The picture drew unusually large audiences for the three weeks.
The Rivoli.
The program at the Rivoli last week opened with an excellent rendition of the Sakuntala overture of Karl Gold-