Books › Musical Courier 1907-06-12: Vol 54 Iss 24, 1907 › scan 30
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Musical Courier 1907-06-12: Vol 54 Iss 24, 1907
59 lines. Read by computer on 25 September 2026. Printed page 29. See the scan on archive.org.
1CHICAGO, III., June 8, 1907.
3An event of much interest was the initial production of Frederic Grant Gleason's romantic opera, "Otho Visconti," given at the new College Theater on June 4. The late Mr. Gleason for many years was a notable figure in Chicago's musical life, was a composer of many interesting compositions. The overture to this opera, which was Mr. Gleason's op. 7, was played on different occasions by the Thomas Orchestra, under the direction of the late Theodore Thomas, and also it was performed in manuscript by the Old Gewandhaus Orchestra in Leipzig in 1892.
5The libretto is built around a romantic story that offers many opportunities for dramatic action, dealing with the time of the Medici. The music, though it contains many attractive solo and concerted numbers, is lacking in unity of text and music, with too many meaningless orchestral interludes and too much repetition of the vocal parts. The weak point of the opera, however, is its vigorous orchestration.
7A really fine number of the opera is the final scene, the denouement, the climax. This scene is of great dramatic beauty and contains perhaps the best orchestration in the work. The cast was: Joseph F. Sheehan, Rena Vivienne, Forrest Dabney Carr, Clara Marie Katzenberger, Ellen Jones and John J. Wynne.
9The soloists were all exceedingly good. Joseph Sheehan's magnificent voice telling to good effect in the several numbers the role offered, and Rena Vivienne a charming Bianca and in the last scene equal to the dramatic requirements. Miss Vivienne has a voice of great charm. Marie Katzenberger, the daughter of Gabriel Katzenberger, music critic of the Chicago Staats Zeitung, a very pretty girl, sang the opening aria for the female voice, "Ora Pro Nobis," with much taste and understanding. Her voice is sweet, clear and resonant. Forrest Dabney Carr sang his one big number in the third act with fine finish and dramatic fervor.
11It is due to the energies of Walter Kellar, who directed and was assisted by an orchestra of thirty men, that this work of Mr. Gleason was produced. Mr. Kellar had been a pupil of Mr. Gleason.
13No expense was spared in the staging of the opera. Costumes and scenery were equally appropriate and fitting and the chorus made a pretty picture.
15It may safely be said that the new College Theater is the handsomest theater in the country. It was opened to the public for the first time with this opera, "Otho Visconti." It has a seating capacity of nearly 2,000 and a stage larger than any other theater stage in Chicago, with a proscenium arch spanning 50 feet. It is not only spacious and equal to the staging of any modern production, but from the artist's point of view it is an aesthetic delight. Of immense height, capped with a dome inlaid with multicolored glass, from which a magnificent chandelier is suspended, and without a post or pillar to obstruct the view from any part of the house, it is a model theater in every detail. The furnishings are white and gold and the upholstering in green velour, with a magnificent velour drop curtain stitched with a golden shade of leather in an attractive conventional design.
17Seldom does one hear such good violin playing among pupils as that in evidence at the eighth annual commencement exercises of the American Violin School, held June 3. The program opened with an ensemble class of thirty-five members, conducted by Joseph Vilim, director of the school. This class played "Ukolebavka," by J. Nesvera, and "Canzonetta," by Godard, with fine intonation and much taste. The soloists were Melvin Martinson, who played a fantaisie on Smetana's "Bartered Bride," by Ondrejek, in a musical manner, with a firm bow, and good intonation in the octave passages and harmonics. Harry J. Dunham played the Sarasate "Zigeunerweisen" in a charming style and with exceptionally clear passage work. John Mason, who played "Serenata Napoletana," by G. Sgambati; toccati, by Tor Aulin, and "Sielanka," by Henry Wieniawski, was perhaps the most temperamental of the pupils heard on this occasion. There was one graduate, William Lloyd, who played the Paganini-Wilhelmj concerto in D. Mr. Lloyd's technic borders on the impeccable and his style is broad and virile. The closing number was overture, "Rienzi" (Wagner), for string orchestra and two pianos (eight hands), conducted by Mr. Vilim, and where again the absolutely correct intonation was observable, as also the musical taste. The address and awarding of diplomas and certificates were by Prof. M. Bross Thomas, D.D., of Lake Forest College. Those receiving certificates were: Joseph Dvorak, Walter Hamann, Ida Hand, James Medek, Charles Mixer, Ruth Stone, Joseph Vilim. The pianists who assisted were: Charles Bednorz, Bertha Sputh, Jessie Campbell, Marie Eytenbenz and Lucile Russell, of the Chicago Piano College, who played the last movement of the Joseph Wieniawski (op. 20) piano concerto in G minor. The accompanist for the violin pupils was Mark Vilim, the very talented son of Joseph Vilim, the conductor of the school. Mr. Vilim's accompaniment work was very musical, his interpretations in phrasing and idea in exact sympathy with the soloist, and his technic clear and clean.
19William H. Sherwood gave a recital at St. Mary's School, Knoxville, Ill., on June 1. Mr. Sherwood has been visiting professor at this school for fourteen years. The head teachers of the piano department, Harriet Adams and Harriet Kingston, finished under Mr. Sherwood, and carry on the Sherwood method in their work there.
21The Chicago Musical College gave their annual operatic performance on June 6 at the Auditorium. The opera selected this year was Flotow's "Martha." The cast (with one exception, John B. Miller, of the faculty, who sang the part of Lionel) and the chorus of 160 were composed of the pupils of the college, assisted by an orchestra of 60 men under the direction of Karl Reckzeh. The personnel of the cast was Helen Allyn as Lady Harriet Durham; Ferne Gramling as her waiting maid; Hugh C. Anderson as Lord Tristan; J. Lester Haberkorn as Plunkett; John B. Miller as Lionel; Gus Schult as the Sheriff; N. T. Stiff as the servant.
23The opera was well staged, and the thorough training of the pupils was very apparent in their thorough familiarity with their various parts. The chorus was excellently trained, singing with a precision and a firm attack and altogether the performance reflected much credit on the Chicago Musical College efficient corps of instructors.
25Miss Allyn was a pretty and vocally pleasing Lady Harriet. Ferne Gramling acted and sang the part of the maid with good understanding and assurance and with a certain charm of coquetry. John B. Miller was in fine voice and interpreted with warmth and feeling the role of Lionel. Hugh Anderson as Tristan was exceptionally good. Lester Haberkorn as Plunkett did some creditable work. The orchestra under the skillful conducting of Karl Reckzeh was a special feature. The vast Auditorium, filled to its doors with admiring friends and patrons, was most generous in applause, and enthusiasm marked the every phase of this very successful performance.
27A young pianist of more than usual talent gave a recital at Auditorium Recital Hall on June 6. Daisy Waller by name and a pupil of Jeannette Durno-Collins, this recital was Miss Waller's farewell public appearance before leaving for further study abroad. Miss Waller's complete program was: Ballade in G minor; nocturne in D flat major; valse in C sharp minor; etude in G flat major, by Chopin; "Des Abends," by Schumann; etude in form of a mazurka by Poldini; Spanish caprice, Moszkowski; and concerto in F minor by Chopin. In the opening numbers, the group by Chopin, she displayed splendid technical command and a poetic and musical insight. William Beard, baritone, assisted with two groups of songs, "Hear Me, Ye Winds and Waves" ("Scipio"), by Handel; aria from "The Seasons" by Haydn; and "Stille Thiran" by Schumann; "Minnelied" by Brahms; "Daheim" by Hugo Kaun; "Jubelkunde" by Oscar Meyer. Mr. Beard has a voice of smooth, velvety roundness, a musical conception of his songs, a sincerity which makes his singing artistic and convincing and an ease of method that is a charm in itself.
29The Bush Temple Conservatory commencement exercises will be held on June 20. An orchestra composed of members of the Thomas Orchestra will be under the direction of Ludwig Becker.
31The "Bohemian Girl," given by the students of the Lewis Institute, under the direction of George L. Tenney, at the Auditorium, on June 7, was a charmingly staged and prettily sung presentation. The many interpolated dances by the pupils were a very attractive feature.
33The cast was Cora Zimmerling in the leading role as Arline; Abigail Raymer as Queen of the Gypsies; Arthur Vogelsang as Thaddeus; Ray Baldwin as Count Arnhem; Fred Flemming as Devilshoof.
35Miss Zimmerling as Arline proved herself the possessor of a voice of lovely timbre and was a very graceful Bohemian Girl. Arthur Vogelsang, whose voice is of a fine, light lyric quality, was both poetic and convincing. Abigail Raymer as Queen sang with good style; Fred Flemming, as Chief of the Gypsies, was quite terrifying in his brigand costume, and Herbert Rich, as the Count's nephew, gave a very creditable interpretation. Ray Baldwin, as Count Arnhem, looked and sang the part well, and the performance was given with nothing to mar its very artistic ensemble. To the untiring energy of George L. Tenney is due the credit for the good chorus and orchestra work. The orchestra was composed almost entirely of members of the school, as follows:
37Summer Normal:
38Harold von Mickwitz,
39Mrs. Susan Williams,
40Grace Weber,
41Amanda E. Snapp,
42Fall Term opens September 9.
44Kenneth M. Bradley,
45Mme. Justine Wegener,
46Harry R. Detweiler,
47Charles Meinken,
48For catalog address, M. C. SCHMIDT
50SOPRANO
51ORATORIO – CONCERTS – RECITALS
522667 Kenmore Avenue
53EDGEMAN, CHICAGO
55PIANIST
56Address: DUNSTAN COLLINS MUSICAL AGENCY
57PHILIP RAY, Manager
58Auditorium Building Chicago, Ill
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