Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 13
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Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
93 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1Helen Warrum's Success in Grand Opera.
2Helen Warrum, one of the youngest grand opera singers in this country, was trained exclusively in an American studio. Her recent engagement by the Chicago Opera Company to sing coloratura roles will undoubtedly prove a source of satisfaction to those teachers and parents who believe that it is not necessary to send a girl abroad in order to enable her to prepare for grand opera.
4A few of Miss Warrum's press notices, herewith appended, tell of the talented young artist's recent operatic successes in several cities:
6Helen Warrum as the Sandman and Dewman sang with clarity and ease, displaying a well rounded soprano voice of excellent tone. — Washington Times, May 3, 1913.
8HELEN WARRUM.
10Helen Warrum as the Dewman completed the cast. Miss Warrum displayed in her small role a voice of high range and of fine quality. She sings with ease and her diction is good—Chicago Examiner.
12Miss Warrum, an American singer who is becoming well known, was both sweet voiced and charming in her two arias, which have evidence that she is fit for larger and more ambitious work.—Columbus Evening Dispatch, May 1, 1913.
14The Sandman and Dewman of Helen Warrum were another delight. Her two songs over the children are worth dreaming about.—Denver Republican.
16There was one other soprano in the cast, one who made two brief appearances, just sufficient to reveal a possible conspicuous but unrecognized talent. This was the singer of the double role of Sandman and Dewman, whom the program identified as Helen Warrum. The score gave her no chance to disclose the full extent of her vocal equipments, but it could not conceal the earmarks of an artist. Her brief appearance excited curiosity.—Los Angeles Express. (Advertisement.)
18Andrea Sarto's Success at Scranton.
19As soloist with the Ladies' Musical Club, of Scranton, Pa., John I. Watkins, director, Andrea Sarto, the New York baritone, won a most pronounced success on Tuesday evening, May 13. Many recalls demonstrated the appreciation of the audience, which completely filled the Lyceum Theater. The following is from the Scranton press:
21Mr. Sarto sang the prologue from "Pagliacci" with magnificent effect. . . . It bore the message with certainty and sureness. . . . In all the other songs, Mr. Sarto displayed a rare musicianship, a voice in splendid control and a superior technic.—Tribune Republican, May 14, 1913.
23Mr. Sarto has a noble voice and is an artist to his lips. His voice has a vibrant quality, even and resonant throughout its wide range. He, as well as Miss Case, felt and knew they were in a fine musical atmosphere and so were spurred to do their best. Mr. Sarto was well received and responded to several insistent encores.—Truth, May 14, 1913.
25Mr. Sarto was conspicuous for what he did not do. He tore no passons to threads as is the wont of most opera stars. He did not attempt to shake the rafters and made no appeal to the groundlings. He merely sang sanely and musically the context of the work in hand. He did his share in a most satisfying way. His prologue was humane and very manly, without exaggeration. It had some very fine moments and the great song left a memorable impress. His songs by Wolf, Schumann and Schubert were true and satisfying musicianship.—Times, May 14, 1913. (Advertisement.)
27College of Music Students' Recital.
28May 16 another of the interesting recitals by students was given at the New York College of Music, Hein and Fraemcke, directors, consisting of piano, violin and vocal music. As usual, good work was done by all concerned, thus sustaining the directors, who, through their teaching staff, have such high ideals. Regina Hyam began the program with a Schubert impromptu, followed by Emil Levy, violinist, in a Vieuxtemps excerpt. Evelyn N. Ney continued with a song by Richard Trunk (the new conductor of the Arion Singing Society), followed by Reinhold's impromptu in C sharp, played by Madeline Giller. A notable achievement was Natalie Jacobson's "Ballade and Polonaise" (Vieuxtemps). Lulu Mueller then played the difficult Strauss-Schutt paraphrase on "Fledermaus," followed in turn by Amanda Schubert, soprano, in Denza's "May Morning." Lillian Goldstein came next, playing Tschaikowsky's "Meditation," and the program of nine numbers closed with Beethoven's concerto in C minor, Madeline Kessler being the solo pianist.
30Much talent under high cultivation found expression in the evening's music, resulting in appreciative plaudits by a large audience.
32The commencement concert of the College of Music is to take place Thursday evening, June 12, at the Engineers' Building, 29 West Thirty-ninth street, near Sixth avenue. Reserved seats at the college, 128 and 130 East Fifty-eighth street; no tickets can be secured at the hall.
34Vera Barstow in Norwich, Conn.
35A program of unusual merit was offered on Wednesday evening, May 7, at the concert given by the Bass Clef Club of Norwich, Conn., on which occasion Vera Barstow, the young violinist, scored a brilliant success.
37This is Miss Barstow's second season on the concert platform and both the work that she has accomplished and the success she has achieved are remarkable. On this occasion the young virtuosa displayed the remarkable skill with which she is endowed, and at the very start, won the heart of everyone. Her masterful reading of the different numbers displayed her talent to splendid advantage. Her technic is finely developed and she plays with a remarkable breadth of understanding.
39Appended is the criticism of the Norwich Bulletin, which tells in detail the success achieved by Miss Barstow:
41The concert by the Bass Clef Club of Norwich, Charles D. Geer, director, assisted by Vera Barstow, violinist, at the Congregational Church Wednesday evening was a rare musical treat. The volume and quality of the club's selections were unusually fine, as were the shading and expression, reflecting the fine work of their director. Especial mention should be made of the marvelous playing of Miss Barstow. After her first number any doubt as to the ability of the artist was vanquished. Her interpretation was perfect and her technic was all that one would expect from any of the great artists of the day. Following was the program:
42Battle Hymn (Rienzi) …………………………………………..Wagner one of two readings
43Battle Hymn (Rienzi) …………………………………….Wagner one of two readings
44The Banks of Allan Water………………………………………Horn one of two readings
45The Banks of Allan Water………………………………….Horn one of two readings
46Ho! Jolly Jenkin………………………………………………….Sullivan one of two readings
47Ho! Jolly Jenkin…………………………………………..Sullivan one of two readings
48The Club.
49Andante and finale, Concerto in E minor…………………Mendelssohn one of two readings
50Andante and finale, Concerto in E minor………………Mendelssohn one of two readings
51Miss Barstow.
52John Peal, old English hunting song……………………..Andrews one of two readings
53John Peal, old English hunting song…………………..Andrews one of two readings
54In Love She Fell……………………………………………..Chase one of two readings
55In Love She Fell…………………………………………..Chase one of two readings
56Laughing Song……………………………………………….Abt one of two readings
57Laughing Song…………………………………………..Abt one of two readings
58The Club.
59Ave Maria………………………………………………………Schubert-Wilhelmj one of two readings
60Ave Maria…………………………………………………Schubert-Wilhelmj one of two readings
61Caprice Viennois……………………………………………..Kreisler one of two readings
62Caprice Viennois…………………………………………Kreisler one of two readings
63Miss Barstow.
64Steersman, Leave the Watch (Flying Dutchman)………..Wagner one of two readings
65Steersman, Leave the Watch (Flying Dutchman)……..Wagner one of two readings
66Vira………………………………………………………..Riker
67The Long Day Closes……………………………………….Sullivan one of two readings
68The Long Day Closes……………………………………Sullivan one of two readings
69The Club.
70Nocturne…………………………………………………….Chopin-Sarasate one of two readings
71Nocturne…………………………………………………Chopin-Sarasate one of two readings
72Liebeslied…………………………………………………….Kreisler one of two readings
73Liebeslied……………………………………………….Kreisler one of two readings
74Zephyr………………………………………………………..Hubay one of two readings
75Zephyr……………………………………………………Hubay one of two readings
76Miss Barstow.
77The Lost Chord……………………………………………..Sullivan one of two readings
78The Lost Chord…………………………………………..Sullivan one of two readings
79The Club with the organ.
80Frederick W. Lester, accompanist. (Advertisement.)
82Claassen Pupils' Annual Concert.
83Every year Arthur Claassen introduces a score or so of vocal pupils, in an invitation concert held at Hotel Astor, New York, which enables him to show the general public what he accomplishes as voice teacher. The 1913 concert was held May 19, when seventeen young women pupils of varying degrees of advancement sang thirty songs and arias from memory, all within less than two hours and with a professional aplomb that was satisfying. The close attention of the large audience, which completely filled the ballroom, the evident enjoyment and appreciation of the musical doings, and the resounding applause, all must echo in Mr. Claassen's memory, as it does in the present writer's. No encore songs were permitted and consequently there was a sequence of music, in well ordered, carefully planned progression, beginning with the junior singers, progressing through the intermediate stage and ending with singers who are ready to go on the Metropolitan stage. Of the seventeen singers, nine sang last year, some before that, the present writer listening to them and noting their progress. Several of them have changed their names (in the natural course, when "man proposes"), but apparently continue their interest and practice.
85Mae Tripp had the difficult task of opening the program, singing very well, and followed by Caroline Harder, who was charming. Martha Schubert, remembered from 1912 ("Ah Mon fils"), sang finely, as did Gertrude Bloch, of '12. They sang either English or German with distinct enunciation. Elsa Rieflin did more than well in songs by LaForge and Brahms, and Erna Korn's voice sounded sweet in Bradsky and Lehmann songs. Mary Petri (1912 singer) has a voice of clear quality, and has improved greatly. Quite operatic in effect was Charlotte Gitterman in the "Tannhäuser" aria. Elsa Meht has a contralto voice of volume, singing a high F softly and sustained, with greatly contrasting effects in "Love Is a Bubble." Lillian Weiden Frese is a budding prima donna, the joyousness of "Happy Song" and facility in coloratura showing up well in "The Kiss Waltz." Ella Prentiss Phelps has a voice of light character, very pleasing quality and sings with style. She, too, has made strides since 1912. The dramatic spirit and intensity of Helen C. Redgrave (also 1912), along with perfect articulation, made her singing notable in Salter's "Cry of Rachel" and Cadman's "Dawning." There was a feeling in a Puccini aria and fine spontaneity in Woodman's "A Birthday," with brilliant coloring, in the singing of Kathryn M. Staats (1912). Graceful was Haydn's "Mermaid's Song," and of bell-like clearness the voice of Elsa Staiger (1912) in the "Butterfly" aria; hearty recalls rewarded her. Eleanor Funk Harz sang with true expression and brightness combined, showing splendid progress since the 1912 concert. Gertrude London (1912) sang Schubert's "Erlking" in such manner that the three-fold spirits of the Goethe poem became living entities. Full of variety was her singing of "The Willow," and the whole thing sounded like a fully developed professional. Louise Schippers Stanton's chromatic staccati, high C, and final high E flat in Strauss' "Primavera" waltz, and her soulful singing of Claassen's own fine song, "Parting," brought her loud applause. This love song has the two essentials of beautiful harmony and melody, not over difficult.
87Charles G. Spross was the accompanist.
89Esperanza Garrigue's Studio Notes.
90Friday, May 16, Enrico Alessandro, a talented young pupil of Esperanza Garrigue, the well known New York vocal teacher, gave a farewell recital in Greenwich, Conn., the hall at the Field Club being taxed to its capacity. Mr. Alessandro will sail for Italy on June 4 where he will continue his studies for grand opera at the music college, Santa Cecilia, in Rome. Special arrangements have been made for him by Madame Garrigue.
92Roberta Beaty, another of Madame Garrigue's talented pupils, has been engaged to sing the mezzo-soprano part of Verdi's "Requiem" at the Maine festival next October.
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