Books › Musical Courier 1911-03-22: Vol 62 Iss 12, 1911 › scan 33
Scan 33
Musical Courier 1911-03-22: Vol 62 Iss 12, 1911
66 lines. Read by computer on 25 September 2026. Printed page 34. See the scan on archive.org.
1Theater. Helen Dickson is with the English Opera Company, which is at present touring the South, singing the role of Lola in "Cavalleria Rusticana." Raymond Gould Crane is touring the South with the Manhattan Opera Company. All are pupils of Mme. Ogden Crane.
3Jessamine Harrison-Irvine's recent dates as an accompanist were: February 7, with Texas Club, Plaza Hotel, Lois Fox (soprano), soloist; February 9, Longevity Club, Waldorf-Astoria; February 13, Perley Dunn Aldrich's Carnegie Hall recital; February 21 and 28, reception at Carnegie Hall studio, Frederick Weld (soloist); March 9, Longevity Club, Waldorf-Astoria; March 10, recital at Gardner Fifth Avenue School for Girls, Vernon Archibald (soloist). On March 26 she will give a recital with Gardner Lanson (baritone) at Mrs. Frederick Nathan's reception. The above dates are in addition to a number of private engagements. At Mrs. Irvine's afternoon tea last Sunday the following artists appeared: Alice Cushing Hartley, Mrs. Daniel Shea, Perley Dunn Aldrich, Vernon Archibald, Bertram Peacock and Frederick Thomas. Mrs. Irvine is a most successful piano instructor and a coach, as well as a sympathetic accompanist.
5A recital by pupils of Emmy Roderick was given recently at her studios, 322 West Fifty-seventh street. Those who participated in a well balanced and splendidly rendered program were Edith Reid, Harriet Butler, Mabel Loveland, Esther Beers, Mrs. Jessie Allen, Dorothy Demarest, Albert Atherly, Lucretia Davis, Adelaide Bird, Martha Parkhurst, Nance M. Grotecloss, Margaret Sitler, Helen de Ivanowski, Lucia Nola, Grace C. Smith (solos); Mrs. Smith, Miss Sitler, Mrs. Grotecloss, Mr. Atherly (ensemble numbers); Mrs. Allen, Mrs. Grotecloss, Mrs. Ivanowski, Mrs. Loveland, Mrs. Severn, Mrs. Smith and the Misses Beers, Bird, Butler, Brewert, Davis, Demarest, Nola, Parkhurst, Reid, Sitler, Whitcher (chorus).
7C. Virgil Gordon gave one of his interesting pupils' recitals in Genealogical Hall on Friday evening, March 3. The program was an exceedingly entertaining one and was enjoyed by a large audience. Some of the playing was quite remarkable for a pupils' recital. The players were: Florence Manuel, Florence Jacoby, Lillian Finch, Millie Samuels, Hortense Karb, Janet McIlwaine, Jane Quinn, Edna Griebel and Adele Kätz.
9Pay Homage to Nordica.
11At Madame Nordica's concert in Columbus, Ohio, recently the diva was welcomed with an enthusiasm which eclipsed anything in local musical annals. The Ohio State Journal of that city says: "In point of enthusiasm it excelled any concert heard here in years." After the enormous success of the Melba concert last fall, this statement is a strong one, but it is borne out by the following excerpts from the Columbus papers which show the overwhelming warmth with which our greatest American prima donna was received:
13Madame Nordica came to town last night and was welcomed by a large audience in Memorial Hall. In point of enthusiasm it excelled any concert heard here in years. The glorious art of this woman was first made known in Columbus more than fifteen years ago, and ever since then she has held a warm place in the affections of the music lovers of Columbus. . . . Without question Nordica is the most versatile singer on the stage today. Look at her operatic career. She has sung most successfully as Leonora in "Il Trovatore," Marguerite in "Faust," Violetta in "Traviata," all roles that demand the most exacting coloratura work, and then she has run the whole gamut of the Wagner operas, singing these roles with the greatest success. That she can at this day do such exquisite singing as she did last night is proof that she rightly learned the art of singing at the start. Nordica is a shining example of the fact that one can sing Wagner without impairing the voice—a fallacy that she has dissipated, for not many years ago the singing of Wagner's music dramas was supposed to play havoc with a singer's voice. It probably would with a faulty method of singing, but here is Nordica, after fifteen or twenty years' singing of Wagner, doing some of the finest work in her career.—Ohio State Journal, March 3, 1911.
15The appearance of Madame Nordica at Memorial Hall Thursday evening was a veritable triumph. America has never produced so great a dramatic soprano and her voice was in perfect condition. Each number she sang better, demonstrated its power and beauty. Her opening number was from "Madame Butterfly," and she sang it as never was it sung before, not even by any of the great artists who have made the role famous. The delicacy of the music and its exquisite delineation by Nordica made it a delight which caused tremendous applause.—Columbus Despatch, March 3, 1911.
17More than 2,500 people paid glad homage Thursday night in Memorial Hall to Lillian Nordica, our greatest American singer. Her superb art makes a mock of the years; and her wholesome, gracious presence completes the charm wrought by her flawless vocalism.—Columbus Citizen, March 3, 1911.
19Lillian Nordica with her irresistible charm again delighted a Columbus audience with her program Thursday night in Memorial Hall. The friends she made in her many years of pleasure giving have not forgotten her and the great personality that gained her such a following is still scoring triumphs. . . . The entire program was a distinct artistic success, and Frederic Shipman's second treat for Columbus this season was certainly deeply appreciated. Never has our city shown more enthusiasm to a visiting singer than it gave to Madame Nordica.—Columbus News, March 3, 1911.
21Mrs. Sylvanna Blackman Teaching in New York.
23Mrs. B. Sylvanna Blackman, a vocal teacher of European training and experience in both the Old and New Worlds, is now teaching in New York. Mrs. Blackman's studio is 810 Carnegie Hall. Mrs. Blackman comes to New York from the Peabody Conservatory of Music in Baltimore, where she taught most successfully for seven years. She is celebrated also as the teacher of her brother, Bertram Peacock, the baritone; she has been his only teacher. It was while a pupil of his sister, that Mr. Peacock received the first diploma for voice given by the famous Baltimore school of music.
25Now something about Mrs. Blackman's work in Europe. She studied in Leipsic for two years and her scholarship won a diploma for her. From Leipsic Mrs. Blackman went to Paris, where she studied four years with Marchesi. During her stay in Paris, she was frequently heard at concerts and her singing was much admired for its vocal finish and beautiful diction. Leaving Paris, Mrs. Blackman went to Berlin to fill some concert engagements and this visit resulted in bringing her into notice as a vocal teacher of the school, sang the berceuse from Godard's "Jocelyn" and for an encore gave "Happy Land" by Teresa Del Riego. The violin obligato in the Godard song was played by Don Richardson.
27The musicale was closed by the Richardson-Kuster Trio with two numbers, "Extase" by Ganne and a serenade by Saint-Saëns.
29The Ovide Musin School is at 39-51 West Seventy-sixth street. The performances by the pupils have attracted wide attention and many demands are received for invitations to the musicales. Naturally, the fame of the school is world-wide and this brings an enrollment of pupils from all sections of this country as well as Europe.
31MUSIC IN BALTIMORE.
33BALTIMORE, Md., March 18, 1911.
35Baltimoreans, during the past two weeks, have been unusually fortunate in having many things of interest to music lovers.
37On Tuesday evening, March 7, a "Mendelssohn evening" was given by the Madison Avenue Temple Choir, under the direction of Charles H. Bochau, assisted by Abram Moses, violinist, and George Castelle, baritone. Frederick D. Weaver was the organist. The choir did fine work throughout the entire program. Special mention should be made of the quartet, as its work was of a high order.
39Thursday, March 9, the seventh opera of the season was given by the Philadelphia-Chicago Grand Opera Company. "Natoma" was sung, with Mary Garden, Lillian Grenville, McCormack and others in the cast.
41Friday afternoon, March 10, Bessie Abbot, soprano, and David Bispham, baritone, gave a joint recital in the Auditorium. An enthusiastic crowd received them.
43Much interest has been aroused here by the "lecture recitals" given by Ernest Hutcheson at the Peabody Conservatory. This series of recitals covers the important literature of the piano. The first was given on Tuesday, March 7, and the second on the following Tuesday. There are six in all, during which all the greatest composers of piano music will be discussed and their works played. These recitals have been largely attended.
45The eighth opera was given in the Lyric on March 16. Puccini's "La Boheme" was the bill, and many think it by far the most beautiful production of the season. Mesdames Lipkowska and Zeppilli, and Messrs. Bassi, Crabbe and Daddi had the leading roles.
47The fifteenth and last Peabody recital was given Friday afternoon, March 17, by Margaret Rabold, soprano, and Bart Wirtz, cellist. Both artists are well known to Baltimoreans and much interest was manifested in this recital.
49J. W.
51Frederic Martin's Tour.
53Frederic Martin, the bass, recently returned from a very successful four weeks' tour in Maryland, West Virginia, North and South Carolina, and one of the principal successes of that tour was when he sang the part of Moses in Bruch's work of that name. This was with the Oratorio Society of Baltimore, and below there appear notices pertaining to this success. In the near future Mr. Martin will fill engagements with the Arts Club, Syracuse; the Handel and Haydn Society, Boston, his second engagement with that society this season; and with the Strawbridge & Clothier Chorus, Philadelphia, in Chadwick's "Judith." Other important spring engagements are in course of definite booking.
55Mr. Martin's press notices are as follows:
57Frederic Martin, the bass, who sang the part of Moses, has been heard with the Oratorio Society and again disclosed a vigorous tone, good delivery and clear enunciation. His interpretation of the part was thoroughly artistic.—The Evening Sun, Baltimore, Md., March 9, 1911.
59Frederic Martin, as Moses, was a fine commanding figure, and he exhibited his well-known bass voice to great advantage in the large words which are well prolonged by the composer on good, favorable notes.—The American, Baltimore, Md., March 9, 1911.
61Frederic Martin, who sang the title role, is one of the best known American bassos, and his part was given a fine reading. His voice is full and sonorous and of great dramatic power.—The Sun, Baltimore, Md., March 9, 1911.
63To Europe.
65Arthur Friedheim left for Europe on Saturday last.
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