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The Pavley-Oukrainsky Ballet, which last summer had an unusually successful season, will return to Mexico City immediately after its engagement in Havana with the San Carlo Opera Company.	Robert Griffith.
Inkowa Glee Club Concert
The third annual concert of the Ikowa Glee Club, which was given at the Waldorf-Astoria May 14, proved to be a generous, well varied and altogether delightful affair. Ross David has trained a group of thirty-five young women to a high point of vocal efficiency and ensemble. In the list of interesting numbers which he led them through there was excellent tone quality, intelligible diction and interpretative intent. The opening group included Out in the Fields (Browning-Bliss), Snow Fairies (Cecil Forsyth) and a Call of the Open, specially written for the club by Mrs. Ross David, the club’s able accompanist.
Tableaux Chantant were a special feature of the program, the characters of which were taken by pupils from the Ross David studios. A huge gilt picture frame erected at the back of the stage framed the figures which appeared, effectively costumed. The first of these was a trio of Russian peasant girls who sang a Russian Vesper Hymn with the club humming an accompaniment. The principals of this picture were Emily Sherwood, Mrs. O. Voight and M. Corbett. Priscilla Baynes next appeared as Juliet and gave an excellent rendition of the waltz song from Romeo and Juliet. A picturesque group of Bohemian folk songs sung by Pauline Hurban, Bohemian soprano, was followed by a group of children under the name of the Jan Hus Choir. These little people, in Czecho-Slovakian dress, sang folk songs with vigor and danced the quaint folk dances with grace and accuracy. They furnished some of the most delightful moments of the evening and had to respond to the enthusiastic applause of the audience with an additional dance. The Virginia Reel was danced to the tune of Dixie Land and, following the intermission, there was presented a pose of Jeanne d’Arc, while the club sang her favorite Easter Hymn (presented to Mr. David in manuscript by a French priest) ; an old French folk song by a campfire group, an Eastern Romance (Rimsky-Korsakoff) by Jane Condit, soprano, with a whistling obligato by Grace Hoyt; Minnetonka (Lieurance), by Marjorie Nash; In the Silence of Night (Rachmaninoff), with Madame Izer as soloist; Mulligan Guard, an Irish tableau introducing Louise Hand and Irene Knowles, and a final scene and aria from the fourth act of 11 Trovatore, by Lillibelle Barton, Mary Rowe Davis and the Glee Club. The club interposed a Hungarian folk song arranged hy Deems Taylor, and sang accompaniments for several of the soloists.
Others who appeared as soloists were Catherine Izer, a dramatic soprano with fine gift; Mary Rowe Davis, possessor of a real contralto and interpretative ability, and Mostyn jones, whose tenor is of the rare Welsh quality. Of the soloists as a whole one can say that they use their voices excellently and have an especially clear manner of handling the words of their selections. Accompaniments for the evening were' played by Mrs. Ross Ravid at the piano, and David Jones at the organ.
The Perfect Artist Course
Includes
GAY MACLAREN
Re-creator of famous plays
Management; CAROLINE EVANS 1430 Garfield Street	;;	Denver, Colo.
GIACOMO
RIMINI
Baritone
Chicago Opera Company
MUSICAL COURIER
she has shown in the development and work of this organization.
Under the able direction of Kate Ellis Wise, a beautiful performance of Shakespeare’s Midsummer Night’s Dream was given at the estate of Dr. and Mrs. James Jackson. Mrs. Wise was assisted by Sherman Hammatt and Beatrice MacCue.
One of the most interesting recitals of the season was given on April 20 by Mrs. W. J. Morrison of Atlanta, Ga., and Orlando, Fla. Mrs. Morrison is a convincing and brilliant pianist and devotes her time and energy to giving lecture recitals for the Peterborough Colony founded by Mrs. MacDowell. The program was made up of MacDowell numbers and was interspersed' with a critical appreciation of the composer’s works.
Mana Zucca is offering a scholarship in piano and one in voice coaching for next season at the Miami Conservatory of which Bertha Foster is director. This past season she conducted master classes here. There have been many demands for this course next year. The contest for these scholarships will be held in the fall and is open to all students of talent and ambition. The compositions selected for the contest are: (for piano) Moment Triste and Etude en Hommage, by Mana Zucca; (for voice). Ah, Love, Will You Remember? and Song of My Heart, by Mana Zucca.
L. B. S.
MEXICO CITY PREPARED
FOR A BUSY SUMMER
Mexico City, Mexico, May 1, 1923.—There has been a dearth of musical events in this city for several months, but from announcements being made at the present time, it looks as if Mexico City will be visited this summer by a number of famous artists and organizations.
Josef Lhevinne’s Recitals.
The first concerts of the season were those given by Josef Lhevinne, who returned to find the excellent impression he had made on former visits had not been forgotten. His opening recital at the Arbeu Theater was to a large and enthusiastic audience, which took every means possible to demonstrate its affection for this artist and its pleasure at being able to hear him again. During two weeks he gave six concerts, all to well filled houses. Lhevinne’s programs were varied and interesting, and served admirably to display the poetic feeling and musicianship of this great artist. At the present time he is touring the republic, but returns to Mexico City to appear as soloist with the symphony orchestra under the direction of Comendador Gaetano Bavagnoli.
The Bavagnoli Spring Festivals.
The flowery title above has been given to the symphony orchestra concerts which will be given this month under the direction of Comendador Gaetano Bavagnoli. It will be recalled that a year or so ago Bavagnoli, who has quite a following here, gave a series of concerts which met with great favor. This year his programs will be somewhat more ambitious, as he will have at his disposal a greatly augmented orchestra, a chorus of 180 mixed voices, a children’s chorus of 100, and, as guest artists, Josef Lhevinne, Fanny Anitua (the well known Mexican contralto), Malda Fani (an Italian soprano, to make her first appearance here), Miguel Santacana (who will sing the Prologue of .Boito’s Mefistofele) and Maria Romero (another soprano of this country). It is understood that the government has contributed a generous subsidy towards this Spring Festival of Music.
Other Events Announced for Summer.
Mischa Elman will arrive in Mexico City later in the month to give a series of concerts. The firm under whose management he will appear is planning to bring various artists of international reputation to this country.
Available for Concerts October, 1923 April and May, 1924
Management: R. E. JOHNSTON, 1451 Broadway, New York Associate«: L. G. BREID and PAUL LONGONE BALDWIN PIANO	VOCALION RECORDS
May 31, 19 2 3
How George Hamlin Entered the Field of Grand Opera
When Victor Herbert essayed the role of grand opera composer, he chose to write a tenor part which required the range of voice and particular vocal equipment which is hard to find among tenors. John McCormack was the man finally selected. He set the pace, created the role, and the part of. Paul Merrill in his hands was a success. The second season of Natoma found McCormack in the concert field and nobody selected for the tenor role.
At about this time George Hamlin, successful in concert and oratorio with an established reputation as an artist of high rank, made known that he was in the field for opera. His opportunity came and he was engaged to fill the vacancy made by the temporary withdrawal of John McCormack from the operatic field. Early in the spring Mr. Hamlin went to his summer home at Lake Placid and learned the role in which he was to make his operatic debut. With characteristic energy and fixedness of purpose he commenced his work and he learned the role, but owing to the extremely difficult vocal requirements of the part, the high tessitura of the score, together with the fact that this was an entirely new line of vocal endeavor for Mr. Hamlin, the tenor found himself in a vocal condition which was alarming. An indefatigable worker, a man who would never say die having once undertaken to do a thing, he persisted in his work until he had made his first operatic role his own intellectually, but alas not vocally, for his voice was gone or at least so impaired that he saw no hope for fulfilling his contract to appear with the Chicago Opera.
The man of the hour proved to be W. Warren Shaw—and to him all the credit was given for saving the situation. It happened in the following manner:
John F. Braun, also a tenor of high artistic attainments and a friend of Mr. Hamlin, had been studying with Mr. Shaw for one year. Mr. Braun and Mr. Hamlin had been studying abroad together the previous season and had not heard each other’s voice for a period of twelve months. Mr. Braun motored up to Mr. Hamlin’s camp at Lake Placid and found the tenor in serious straits vocally.
Mr. Hamlin explained that he was suffering from overwork and didn’t know whether it was at all possible to have his voice restored. When Mr. Braun sang for Mr. Hamlin, the latter immediately noticed a marked improvement in the voice of his friend, and quickly made inquiry as to his line of vocal work since the preceding season. The result of the conference was that Mr. Hamljn decided to entrust his voice to the guidance of Mr. Shaw, although he had no previous acquaintance with him nor knowledge of his work. He immediately wired Mr. Shaw, requesting daily lessons.
Arriving at Mr. Shaw’s summer school he explained the situation and sang for him. “What can you do for me?” he inquired, to which Mr. Shaw laconically replied: “I don’t know that I can do anything of importance, but 1 will do my utmost for you.”
Every one familiar with Mr. Shaw’s methods knows what that meant. It meant ground work and the definite understanding of principles which should govern the vocal activities in course of vocal training, strict attention to detail and practical illustrations, no dodging of important questions, no compromise at the close of this necessarily strenuous session,, which was of such vital importance to the tenor that he insisted Mr. Shaw accompany him to Lake Placid for further vocal work. He said, “I feel that much has been done, but I want two weeks more of double daily lessons,” and the plan was carried out.
Every step in the dramatic situations was worked out in connection with the vocal work, and in the fall Mr. Hamlin made his debut in Natoma—Mary Garden singing the title role—with the Chicago Opera.
His success was instantaneous and pronounced, and he sang in Natoma for the entire season. The following summer Mr. Hamlin resumed his two sessions of daily work with Mr. Shaw, adding to his repertory The Jewels of the Madonna and Goldmark’s Queen of Sheba, in which he afterward appeared with equally pronounced success. During these two seasons, Mr. Hamlin’s vocal improvement was generally _ recognized by public and press. The Chjcago Tribune, in referring to Mr. Hamlin’s work, said “His voice has taken on added volume and carrying power.” The Chicago Evening Post stated: “Mr. Hamlin gave out his voice with much greater volume and richer quality than last year.” The press was unanimous in its opinion concerning the growth of this artist. Mr. Hamlin’s tribute to Mr. Shaw was an open and frank expression of the valuable service rendered by his teacher and the recommendation to many of his former pupils to study with Mr. Shaw.
Miami Conservatory of Music Notes
Miami, Fla., April 25.—On April 24 an interesting musicale was given at the Trinity Episcopal Rectory in honor of Mr. and Mrs. Joseph H. Clarke of Saratoga Springs, N. Y. Both Mr. and Mrs. Clarke are well known patrons of music and an excellent program was arranged by Dr. and Mrs. Phillips for their guests. Quartet numbers and solos were offered by Mrs. Walter Arrington, soprano; Mrs. John Graham, contralto; Alfred Betts, tenor, and Percy Long, baritone.
Mana Zucca has been elected associate honorary president of the Miami Woman’s Chorus in recognition of the interest
ROSA
RAISA
Dramatic Soprano Chicago Opera Company
DUNNING SYSTEM ״SsSit?׳*־
ENDORSED BY THE LEADING MUSICAL EDUCATORS OF THE WORLD
Normal Classes as follows:—
MRS. CARRE LOUISE DUNNING, Originator, Waverley Country Club, Portland, Oregon, New York City, Aug. 1
HARRIET BACON MacDONALD, 825 Orchestra Bldg., Chicago; Dallas, Texas, June; Cleveland, Ohio, July 2; Chicago, Aug. 6.
MRS. WESLEY PORTER MASON, 5011 Worth Street, Dallas, Texas; Classes beginning first week In June; second week In July.
LAURA JONES RAWLINSON, Portland, Ore., 61 North 16th St., June 19, 1923; Seattle, Wash., Aug. 1, 1923.
VIRGINIA RYAN, 828 Carnegie Hall, New York City.
ISABEL M. TONE, 469 Grand View Street, Los Angeles, Cal., June 18, 1923.
MRS. S. L. VAN NORT, 2815 Helena St., Houston, Texas.
MRS. H. R. WATKINS, 124 East 11th St., Oklahoma City, Okla.
ANNA W. WHITLOCK, 1100 Hurley Avenue, Fort Worth, Texas.
TRAVIS SEDBERRY GRIMLAND, Memphis, Tenn.; for booklets address, Clifton, Texas.
IDA GARDNER. 15 West Fifth Street. Tulsa, Okla., June 4, 1923.
CARA MATTHEWS GARRETT, 4121 Jackdaw St., San Diego, Cal., Normal Class June 14.
MRS. JULIUS ALBERT JAHN, Dallas Academy of Music, Dallas, Texas.
MAUD ELLEN LITTLEFIELD, Kansas City Conservatory of Music, 1515 Llnwood Blvd., Kansas City, Mo.
CLARA B. LOCHRIDGE, 223 N. Fifth St., Mayfield, Ky.; Summer Classes— Bowling Green, Ky.; Cincinnati, Ohio; Long Beach, Calif.
CARRIE MUNGER LONG, 608 Fine Arts Bldg., Chicago, III.; Summer Normal Classes June, July and August.
MRS. 2ELLA E. ANDREWS, Leonard
Bldg., Spokane, Wash.
ALLIE E. BARCUS, 1006 College Ave., Ft. Worth, Texas. Summer Class— Amarillo, Texas, begins July 2.
ANNA CRAIG BATES, 732 Pierce Bldg., St. Louis, Mo.; classes held monthly throughout the season.
MARY E. BRECKISEN, 354 Irving Street, Toledo, Ohio.
MRS. JEAN WARREN CARRICK, 160 East 68th St., Portland, Ore.
DORA A. CHASE, Pouch Gallery, 345 Clinton Ave., Brooklyn, N. Y.
ADDA C. EDDY, 136 W. Sandusky Ave., Bellefontaine, Ohio; Summer and Fall Classes—Columbus, Dayton, Cincinnati and Bellefontaine, Ohio; Atlanta, Ga.
BEATRICE S. EIKEL, Kidd-Key College, Sherman, Texas.
JEANETTE CURREY FULLER, 50 Erlon Crescent, Rochester, N. Y.
INFORMATION AND BOOKLET UPON REQUEST
The Phenomenal Pianisi
Season 1923-1924 In America
Exclusive Management: DANIEL MAYES
Aeolian Hall, New York Steinway Plano Amplco Records