27 about the New Year to enjoy the first half of the musical season. The Musical Courier will publish a second series of her articles on music in India during the present summer and will later publish several articles upon music in the Orient, written from material collected during her visits to China, Japan, Java, and other Oriental countries on her way home. MU SIC Ä L COURIER June 21, 1923 Russian Opera Off to Mexico The Russian Grand Opera Company is entering upon another stage of its 'round-the-world tour. It left on the Ward Line, June 14, en route to Vera Cruz, whence it will go by rail to Mexico City. The Russians will have a season of eight weeks in the National Theater in the Mexican capital, after which they will tour South America. Since they left Russia they have toured Siberia, Japan, and all of the important _ cities^ of Asia, Java, Manila and North America, and it is their intention to visit every continent before returning to Russia. S. Hurok, who directed their tour of the United States and Canada, is also arranging their world tour. The chorus, orchestra, ballet and list of principals have all been augmented for the Mexico City engagement, which is to be under the auspices of local guarantors represented by I. E. Silingardi, the Latin-America impresario. Activities of Haywood Institute Teachers Wilhelmina Baldwin’s voice culture classes gave a program at the Evangeline Booth Hospital, Boston, on May 24. On June 2 a recital was given by her Boston and Worcester pupils, assisted by her universal song classes. On May IS the pupils of A. E. Haesener, •Erie, Pa., took a prominent part in the program given at the Masonic Temple under the auspices of the Musical Art Society, of which Mr. Haesener is conductor. Notv and again me hear a singer mhose enunciation is so imperfect that much of the pleasure of .listening to her is destroyed. That is an unpardonable fault—and a needless one. To hear TILLA CEMUNDER is a delight; every mord is clearly enunciated, and mith her beautiful voice, she is indeed a singer morth hearing. W. C. D. (To Be Continued) LEONID KREUTZER’S BALLET-PANTOMIME HAS SUCCESSFUL BERLIN PREMIERE The God and the Bayadere, After Goethe, an Effective Subject for Dance Interpretation—Kreutzer’s Music Pleasing Berlin, May 26.—Leonid Kreutzer, one of our best known and most esteemed pianists, has hardly been known in public as a composer so far. He made his debut in this capacity with a big four-act dance pantomine, entitled Der Gott und die Bayadere, which had its first performance at the Deutsches Opernhaus in Charlottenburg a few days ago. Richard Weichert is the author of the libretto, the action being based on Goethe’s celebrated Hindu legend of the same name. The libretto hardly succeeds in transferring Goethe’s sublime poetic idea to the stage without the admixture of grosser traits. But on the whole it offers an effective subject for a dance-pantomime and, thanks chiefly to Kreutzer’s music, it proved remarkably impressive and was rapturously applauded by a large and animated public. Kreutzer, Russian by birth and education, has the instinct of the Russian musician for the possibilities, the expressive power and the picturesque effects of the dance. Moreover, he is an accomplished musician, an inventor of graceful, charming and characteristic melodies. The orchestra he treats skillfully and with cultivated taste. A considerable number of striking effects and fine details arrest the attention of the listener. The Indian local color is well characterized by exotic harmonies, rhythms and melodies, not however with a view of producing sensational effects at all costs. There is no noticeable attempt of rivalling with Stravinsky and Richard Strauss, the two contemporary champions of the dance-pantomime. Neither has Kreutzer the ambition of making a complicated symphony of his dance music. He is satisfied with illustrating in a natural, unforced, characteristic and pleasing manner the story told by the gestures of his dancers. Of these, Lina Gerzer as the Bayadere was by far the most prominent, and though one cannot yet compare her to the great Russian dancers she bids fair to reach a high degree of perfection in her art. Stage settings, costumes and stage management in general were not more than mediocre. Of remarkable effect, however, were the precision, good balance and quick response of the orchestra, directed by Kreutzer himself, who once more proved himself to be an orchestral conductor of unusual capacities. Hugo Leichtentritt. LEONID KREUTZER many of the results of which have been embodied in the series of articles on the subject that appeared in the Musical Courier. Mr. Anderson is on a six months’ leave of absence, and he and his wife will spend the summer with relatives in Williamston, N. C. He will return to his post early in the fall, but Mrs. Anderson will remain1 in New York until MASTER INSTITUTE OF UNITED ARTS Music—Painting—Sculpture—■Architecture—Opera Class—Ballet—Drama—Lectures 312 West 54th Street, New York Citj Phone 3954 circle S •' №׳ A ■ MISS LUCREZIA BORI Soprano Metropolitan Opera Company Uses and Endorses Exclusively At the end of this, the first season in which I have used your pianos for my recital work, I want to express my complete satisfaction with the Concert Grands and my earnest thanks for the kindness and consideration which the Baldwin Company has always extended me. In.commenting upon the Baldwin Piano I am swayed above all else by the quality of its tone—pure, lovely, and inspiring. For the singer this tone represents a sure source of inspiration and never fails to blend harmoniously with the voice. I shall be very happy to use and endorse the Baldwin in the future. With my heartiest wishes for your continued success, I am Most cordially yours, d[hr|lali)uim^Jtan(i (£on!jiani! Cincinnati Chicago St. Louis New York Louisville Indianapolis Denver Dallas San Francisco Fine Recital at Patterson Studios An intimate recital was given at the studios of A. Russ Patterson, Monday evening, June 11, by Idelle Patterson, soprano, assisted by Ruth Kemper, violinist. A Mozart aria, 11 Pastore, was charmingly rendered by Mme. Patterson, with a violin obligato by Miss Kemper. A group of songs in French included Mandolines et Guitarres, Grov-lez; Priez, Aimez, Chantez, Gregh; Mon Gentil Pierrot, Leoncavallo, and Hymn au Soleil, from Le Coq d’Or, by Rimsky-Korsakoff. Mme. Patterson sings with a finish of style and artistic intelligence that is delightful; her diction, too, whether in French, Italian or English, is excellent. Her skill in vocal technic enables her to present her songs in such a manner as to bring out all the beauties and to give_ adequate expression to them. Ultima Rosa, Zandonai; Fiocca la Neve, Cimara, and Girometta, Sibella, were her Italian selections. A group, of songs by American composers included When the Land Was White With Moonlight, Nevin; The Answer, Robert Huntington Terry; The Fairy Pipers, A. H. Brewer; The Singer, Maxwell, and To a Hilltop, Ralph Cox. Her interpretation of Robert Huntington Terry’s The Answer was especially beautiful and she was personally congratulated by the composer, who was in the audience. _ The Fairy Pipers was given with exquisite daintiness and crisp stacatto. By request Mme. Patterson gave as one of her encores the Mad Scene from Lucia, in which the flexibility and range of her voice and her technic in coloratura work showed to advantage. Besides Mme. Patterson’s artistry her charm of personality always wins her audience, and this time proved no exception to the rule. Miss Kemper was heard in two groups of violin solos’. Crinoline Minuet, by Albert Stoessel, was a delightful number, played with grace, and La Precieuse, Couperin-Kreisler, also pleased greatly. A lovely number also was Henry Holden Huss’ Berceuse Slave. Miss Kemper has a facile left hand technic and a strong, rhythmic sense. Wieniaw-ski’s Obertass mazurka was rendered with much vigor, fire and temperament, and the young artist was warmly applauded. Kruse Delights Home Town Folks Leone Kruse, dramatic soprano, who during the past season has made a splendid impression with many of the leading clubs and societies in the East, closed her season on May 2S with a recital at her former home at St. Johns, Michigan. Her father was the pastor of St. John’s Methodist Church when Miss Kruse was a child, and the singer was given a veritable ovation by her friends, who crowded the Methodist church, overflowing to the Sunday School rooms. After the concert, nearly everyone of the audience greeted Miss Kruse congratulating her on her fine success; many of her old schoolmates were in the audience and she was the center of a laughing, joking crowd, many of whom recounted escapades of high school days and other incidents of her stay in St. Johns, when she sang in the choir. The feature of her last group of songs was a song in manuscript by her coach, Walter Golde, Awakening, which she introduced for the first time at her concert at Norfolk, Va., last month. The song, which is dedicated to Mme. Jeritza, has so far been sung only by Miss Kruse. The prima donna is at present resting at Ionia, Mich., where her father is now pastor, and she will sail for Germany in August to spend several months there in preparation for her operatic debut. She will return in April to fulfill some spring festival engagements in this country that have already been booked by her managers. Lily Strickland Home from India Lily’ Strickland-Anderson, the well known composer, has just arrived home from India, where she and her husband have been living for the last three or four years. Just' before leaving she had a signal honor conferred upon her in being made a member of the exclusive India Research Society for her work in the investigation of Indian music.