MUSICAL COURIER
54
May 31, 19 2 3
the title role of Lucia di Lammermoor. The large and distinguished audience present thrilled to the diva’s artistry and in her rendition of the Mad Scene, she brought forth a furore of applause.—Havana Telegram.
Josephine Lucchese, in Lucia, made fresh anew the laurels gained in the Barber. She sang like a canary bird, and was compelled to encore the cadenza of the Mad Scene, which we have heard here by Tetrazzini, Pareto, Barrientos, Brambilla, Gali-Curci and other stars. She was also applauded warmly and deservedly in the Cavatina Regnava nel silenzio of the first act.—El Heraldo de Cuba.
Josephine Lucchese interpreted with the greatest perfection the role of the heroine. She sang excellently Regnava nel silenzio, and the duet with Tito Schipa. In the duet with the baritone and in the sextet she sang and acted admirably. She obtained one of the most brilliant triumphs in the Mad Scene, the rondo of which served well to show her gifts and agility. Lucchese is a singer of rare merit. Here, where Barrientos, Galli-Curci, Pareto and Otein have been heard in Lucia, Lucchese’s triumph is a great proof of her extraordinary merits.—El Diario Della Marina.
Señorita Lucchese took us by surprise with her exquisite voice and with the mastery of her song. The rondo well merited the honor of being repeated, and the encore was welcomed with a veritable ovation. Josephine Lucchese, who is in the fullness of her youth and vocal means, is undoubtedly a star of the first magnitude.—El Correo Espagnol.
The third triumph of Lucchese was achieved in Hamlet, which she sang with Titta Ruffo. Notwithstanding the fact that Lucchese had never sung in this opera before, her debut was greeted by the most enthusiastic applause and by another overwhelming success. El Diario Della Marina, after having stated in a headline that “Lucchese Has Another Splendid Success,״ proceeds as follows:
Josephine Lucchese interpreted admirably the blond and young Ophelia. In the duet with Titta Ruffo in the first act she was happiest, and in Ophelia’s ballad she achieved a very phenomenal triumph. In the difficult fioriture she showed all her mastery as coloraturist and was very strenuously applauded by the public, which acclaimed her with the greatest enthusiasm.
Two other press notices follow:
Josephine Lucchese, Ophelia, sang with excellent gusto and precision. In the ballad her wonderful high notes and great agility provoked very enthusiastic applause.—El Mundo.
A packed house showed the greatest enthusiasm recorded this season, not only for the masterly way in which the great Ruffo sang and acted the title role, but also for the truly exquisite singing of Josephine Lucchese, whose Ophelia will long be remembered together with her incomparable interpretation of Lucia and Barber.
Lucchese’s Ophelia was really a thing of beauty. This artist possesses a phenomenal skill as a coloraturist, and has unquestionably one of the most beautiful musical and true voices of the operatic stage. She is one of the most attractive singers imaginable. Every tone, to the high E flat, is true and sweet, delicate and appealing. Lucchese was very enthusiastically greeted in the Garden Scene and, following her exquisite singing of the Mad Scene, was given a wonderful ovation. The most difficult of the runs, trills and other vocal embellishments with which this scene abounds were taken with a sureness and ease which startled the audience. She simply took the house by storm at the closing of the aria with a trill which was a real gem of vocalism and a shining E in all which she held with a fullness and roundness the most accomplished flutist would have envied. There was an ovational demonstration in the beautiful singer’s honor at the end of this act and she had to take eight or ten curtain calls. —The Havana Post.	S. O.
Dorothy Jardon’s Success Continues
A third week was added to the stay of Dorothy Jardor. in Los Angeles. Owing to the big success of her appearance at Loewe’s State Theater, the management found it in accordance with the wishes of its large audiences to keep the popular singer for an additional time. The following is culled from the Los Angeles Evening Express:
The Dutch picture, with its wide-sweeping windwheel to a typical delft mill and radiant blooms, its gayly costumed youngsters skipping
all her principal arias, especially Una voce poco fa, which procured her phrenetic applause.
In Lucia Josephine Lucchese added new laurels to her triumph of the opening night and, once again, conquered the public and the press:
Yesterday’s Lucia was a glorious one for all the interpreters. How ever, it is no more than just to speak first of Josephine Lucchese, because it was she who was the revelation of the spectacle. Her interpretation of Rosina in the Barber was a very alluring premise. From yesterday our surprise has become certainty and we are now
JOSEPHINE LUCCHESE,
as Rosina in The Barber of Seville.
placing her in the prominent place which is hers—among the celebrities. From the ana of the spring, rendered to perfection, to the so-called Mad Scene, Josephine Lucchese fought, without giving ground, with the remembrance of the most celebrated interpreters of this role. In the Mad Scene she completely subjugated the packed house with admirable finesse, wonderful agility and top notes of extraordinary vigor. The final E flat, which she launched with great clearness and certainty, ended amidst a very clamorous ovation, and shouts for an encore which she gallantly granted. Again the warmest demonstration ensued.—El Mundo.
With fire, fervor, dramatic quality and a purity of tone never surpassed in the history of opera in Havana, Josephine Lucchese sang
OPINIONS OF THE PRESS
Lucchese’s Havana Triumphs Overwhelming
Havana, Cuba, May 10.—Very seldom, in the musical history of Havana, has a newcomer achieved such a sweeping triumph as Josephine Lucchese has in the Barber, Lucia and Hamlet. Virtually unheralded, this beautiful and gifted artist has taken the Havanians by surprise and her phenomenal successes have made her so popular here with the public and the press that today there is no single soul who does not know of her youth and beauty, of her truly exquisite voice and of her phenomenal skill as a coloraturist.
To achieve a triumphal success alongside of luminaries like Titta Ruffo, Martinelli, Schipa and Bori, all well known to Havana audiences, to perform at the Teatro Nacional, the highest priced theater in the world, where a seat in the orchestra costs $15, and $6 in the gallery, to make her first appearance before a public which has made idols of Galli-Curci, Brambilla, Padovani, Pareto, Barrientos, Tetrazzini, Otein and yet “to take the packed houses by storm each performance,” as the Havana Post writes, proves conclusively that Josephine Lucchese, “the American Nightingale,” notwithstanding her comparatively brief career, is not only one of the real sensations of the 1922-23 musical season, but that the beautiful diva is on the threshold of an illustrious career.
Appended are some of the very enthusiastic critiques of the Havana papers.
Josephine Lucchese was a splendid Rosina. She gave her part all due grace and lightness and sang with the greatest ability. She possesses a voice of wonderful range and exquisite quality. In the aria, Una voce poco fa, and in the “lesson scene’’ she gave ample proofs of her very beautiful vocal organ, of her agility and coloratura mastery. She triumphed both vocally and dramatically.—El Diario de la Marina.
The revelation of the night was Josephine Lucchese, a coloratura soprano who interpreted delightfully the role of Rosina. Very young and graceful, she possesses a very fresh and flexible voice which she uses with true perfection. Her high notes are of a very beautiful clearness and timbre. Her excellent command of the breathing apparatus, the most important quality in a singer, is such as to permit her to hold her highest nqtes time interminable, without fluctuations or flickering.—La Discussion.
Josephine Lucchese, a lyric soprano, who made her first bow to a Havana audience last night, garnered more than her proportion of applause. The flexibility and timbre of her voice and her mastery of the difficult arpeggios in Una voce poco fa forced even the most infatuated countrymen of Maria Barrientos to shout for encores. —The Havana Telegram.
Josephine Lucchese, coloratura soprano, new to Havana, obtained a wonderful triumph. Young and beautiful,^ she possesses a delicious voice which she uses with great mastery.—El Imparcial.
Josephine Lucchese, who made her first appearance before a Havana audience, produced an excellent impression with her exquisite voice and delightful figure. In the celebrated aria, Una voce, she gave forth very beautiful top notes, and the public greeted her warmly and enthusiastically.—El Mundo.
The critic of El Heraldo de Cuba, after having stated that the triumph of the unforgettable evening belongs to Titta Ruffo, Tito Schipa and Josephine Lucchese, the soprano “who has gold and crystal in her voice,” continues:
Lucchese has a beautiful figure and' a very expressive face:	With
her voice of wonderful range and sweetness she filled with arabesques
EFFA ELLIS PERFIELD DIRECTORY OF TEACHERS
By EFFA ELLIS PERFIELD, 121 Madison Ave., (30th Street), New York City	Phone: Madison Sq. 9069
NEW YORK C. KATE BEACOM Piano and Class Work 621 E. 29th St., Brooklyn Phone: Mansfield 1297	JENNIE S. LIEBMANN Piano and Class Lessons 1140 St. John’s Place, Brooklyn Phone: 0981 Decatnr	ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford	MISSOURI FLORENCE E. HAMMON Examining Normal Teacher Nine Assistants Musical Art Bldg. St. Louis
	RICHARD McCLANAHAN Grad. Mus. A. B. Director of Music, Riverdale Country School Telephone Kingsbridge 3123	CALIFORNIA ADELE DAVIS Piano Belvedere. Phone: 3-M	
EDITH BEARDSLEY Piano and Classes Pupil of Xaver Scharwenka 253 West 91st St., Tel. Riverside 1215			OKLAHOMA LEILA G. MUNSELL Pianist, Teacher and Accompanist Muskogee
EMMA BECK 124 West 12th St., New York Phone: 3715 Chelsea	MME. SCHUBERTH-NEYMANN Piano Ensemble and Individual Lessons Steinway Hall, Studio 9B, New York Phone: Stuyvesant 0500	ETHEL MAE OSBORN Piano and Classwork 427 Moss Ave., Phone: Oakland Piedmont 4659-W	
			PENNSYLVANIA CORA SHEFFER ANTHONY Piano and Voice Individual and Class 616 West 3rd Street Williamsport
RUTH CARLMARK Accompanist and Piano Instruction Pupil of La Forge-Berumen Studio 436 Sterling Place, Brooklyn			
	MRS. WILLIAM D. REED Piano and Class Lessons 34 West 96th St. Riverside 4634	ETHEL ALAIR Piano 167 W. Washington St., Pasadena Phone: Colorado 4593	
			TENNESSEE MATTIE EZELL Piano and Class Work 185Vi 8th Ave. N. Nashville Phone Main 3432
MAUDE TUCKER DOOLITTLE 164 22nd St., Jackson Heights, Elmhurst, L. I. Phone: 2477 Newtown Carnegie Hall, Room 803-4, Wednesdays Phone: Circle 1536	LESLEY GUEST REILAND, Mus. B. Member of the Piano Faculty, Syracuse University, Syracuse, N. Y., 19111918־ Studios: 809 Carnegie Hall, New York City 1410 Avenue H, Brooklyn, N. Y.		
		EDNA WHEELER BALLARD Harp 1101 Pine St., San Francisco Phone: Prospect 2306	
KATHRYN DRIGGS Pupil of Moszkowski and Victor Wittigstein Teacher at Scoville School for Girls 15 Clarke St., Brooklyn Phone: 2384 Main			TEXAS NELLIE HALL Piano and Class Lessons Eriburg, Apt. 2 Abilene Phone 390
	ADELE F. SOUTHARD 11 West 96th St. Riverside 9773	ILLINOIS LUCY SPENCER Director Children’• Dept. Columbia Conservatory of Music and Dramatic Art Aurora Phone: 235	
	EMILY L. SNOW Piano and Class Lessons 204 East 18th St., N. Y. Tel. 4428 Lexington		
OLGA FISHER Piano and Class Work 93 Junction Ave., Corona, L. I. Phone: Havemeyer 0531			
			WASHINGTON ALICE REYNOLDS FISCHER 314 E. Birch Walla Walla
	MARY G. STOWE Teacher of Piano Pupil of Raif, Moszkowski, Thuel Burnham 275 Central Park West, N. Y.		
		INDIANA EDITH LACEY Pleasant Lake	
MILDRED HAIRE Five years Director of Piano at Scoville School for Girls and four years director of theory department at Greenwich House Music School. 365 West 23rd St., N. Y. Phone 9144 Watkins			
			FLORA McCONAUGHEY 50 Park Walla Walla
	MRS. A. B. THOMPSON Voice and Piano Certified 22 Bayshore, L. I. Phone: 300 Bayshore	IOWA HAWAIIAN SCHOOL OF MUSIC Mrs. Nina Warner, director (All Stringed Instrument• Taught) 701 2nd Ave. East, Cedar Rapids	CHARLOTTE MeNEELY Piano 2603 Everett Are. Everett
RUTH JULIAN KENNARD Piano and Class Lessons 530 West 113th Street, N. Y. Phone: Cathedral 5613			
	MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W., Brooklyn Phone: South 3688-J.		WISCONSIN MADISON MUSIC SCHOOL Lanra J. Richards, director Piano and Harmony 132 Lathrop Street Madison Phone: Badger 3243
		ETTA GABBERT Teacher of Piano, Pipe Organ, Harmony and Theory Individual and Class—All Ages Studio: 1934 Farnam Street, Davenport	
MARY EDNA LAWRENCE Musical Pedagogue Individual Piano Lessons Class Lessons in Musicianship Gold Street, Rosedale, L. I. Phone: Laurelton 1746			
	HARRISON E. WOOD Piano 5 Robins Place, Yonkers Phone: 3652 Yonkers		
		MASSACHUSETTS MARY BLACK 156 Newberry Street Boston	FOREIGN
IDIS LAZAR Concert Pianist and Teacher 50 Morningside Drive, Apt. 42, New York Phone 7770 Cathedral			
			CANADA CARA FARMER Piano and Class Lessons, Demonstrations Certified Normal Teachei Mothers’ Creative Music Course 750 Bathurst, Toronto
	MAUDE BALLARD WOOD Teacher of Pianoforte 150 Lenox Road, Brooklyn Phone: Flatbush 8872-J.	ANGIE WILDE Piano Summer Address: Duxbury Winter: 169 Park Place, Brooklyn, N. Y.	
JEANNETTE C. LEIDY Piano and Class Work 416 West 122nd St., N. Y. Phone: 4475 Morn.			
GERTRUDE LEONARD Pupil of Heinrich Gebhardt Teacher 1920-21 at Smead School, Toledo, Ohio; 1922 at Riverdale County School. N. Y. 29 Orchard Place, New Rochelle.	NEW JERSEY RUTH E. JONGENEEL Piano Lessons 119 North 9th Street, Newark Phone: Branch Brook 4745	MICHIGAN DORIS GLEZEN Piano and Theory 517 Village Street Kalamaioo Phone 995	CHINA EMIL DANENBERG Pianoforte Instruction Pupil of Teichmuller (Leipzig) The Albany, Hong Kong