Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 30
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Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
76 lines. Read by computer on 26 September 2026. Printed page 33. See the scan on archive.org.
1May 28, 1913.
3Walter Kirschbaum's Success in Canada.
5Walter Kirschbaum, pianist, is continuing his brilliant success in Toronto, and his name on the program of a recital arouses general interest and attracts large audiences. This was evident recently, when he assisted Leo Smith in a cello recital at the Toronto Conservatory Music Hall. The E minor sonata by Brahms, for piano and cello, was given with an artistic elegance, a careful shading and a spontaneous flow that testified to the deep familiarity with the Brahms style, as well as to the sovereign command over all technical problems, the awkwardness of which was not surmised in the ease with which they were overcome. Beethoven's rondo in G major showed Mr. Kirschbaum again as a classical interpreter; the recurring theme and its varying embellishments were given with graceful humor, and the parts of sustained melody with all the impressive dignity, characteristic of the immortal master.
7But it was with the two Liszt legends, "St. Francis Preaching to the Birds" and "St. Francis Walking on the Waves," that Mr. Kirschbaum scored a triumph. The brilliant picturesqueness of his rendition, the power of his touch, which, in its strongest abandon, loses none of its characteristic tonal beauty, the accuracy and evenness of the passage work, the tremendous octave runs—all this combined to arouse the listeners to the highest pitch of enthusiasm.
9The previous evening Mr. Kirschbaum had taken part in a musicale in Ottawa, in the great reception hall of the House of Commons, before a large and fashionable audience, and it would be difficult to say in which of the two places he met with the most appreciation.
11Mario Sammarco Delights Parisians.
13Mario Sammarco, the distinguished baritone of the Chicago Opera Company, has discovered at least one city in which he is ever welcomed—Paris. The warmest greetings were extended to him upon his recent appearance at the Theatre des Champs Elysees, and the memory of the occasion will remain long with all who heard him.
15Translated in the following paragraphs are some of the criticisms from the Paris press:
17At the Theatre des Champs Elysees, at least, the old master (Rossini) is honored as he should be. The Italian company, which M. Astruc actually assembled in Paris in 1913, recalls the fine days of the Theatre Ventadour. It is a veritable delight to hear sing—I should say to listen to—artists, for whom musical intelligence and declamation are not all; for whom, beauty of timbre, the power to sustain, and sureness of emission are not negligible matters. It is a delight, and a delight sufficiently rare nowadays.
19We have listened once more with pleasure to M. Sammarco, a baritone of great talent, who is not unknown to us. His interpretation of Figaro, very good vocally, is also interesting from the scenic point of view, in that it departs sometimes, and very logically, from certain traditions consecrated with too little reason.—(Translation) Le Figaro, Paris, April 21, 1913.
21The Parisian public the other evening feted the baritone, Sammarco, who sang the role of Figaro in "The Barber of Seville" at the Theatre des Champs Elysees. The baritone, Sammarco, has been the object of ovations. He will be heard again Thursday evening in this same Barber, in which he is unequalled. M. Sammarco owes his success to several causes; he is not only a marvelous singer, but is a perfect interpreter. It is not only his splendid voice that one applauds, but the expression which he knows how to give to his roles and the variety of this expression. He triumphs as fully in the French operas as in the Italian or German works; he sings with equal success Hamlet, Henry VIII, Rigoletto, Aida, Les Noces de Figaro, Les Maitres Chanteurs, Tannhäuser, La Tosca and Falstaff. He is a baritone of the grand school and America has just given him a series of ovations in "The Secret of Suzanne" and "The Jewels of the Madonna" by Wolff-Ferrari. Paris has acclaimed him in "The Barber," and will acclaim him every time that this illustrious artist consents to let us hear him.—(Translation) Le Gaulois, Paris, April 29, 1913.
23We have cherished the memory of the great baritone, Sammarco, who, seven years ago, created Andrea Chenier (the score by M. Giordano) at the Theatre Sarah Bernhardt during the season of the Italian company, organized by the Milan publisher, M. Sonzogno, and Gabriel Astruc, who then made his debut as manager. M. Sammarco, among the many beautiful voices which were presented to us, struck us not only with the amplitude of his organ—that goes without saying—but also with his personality as a true artist, a certain nobility and elevation, which proclaimed the singer as one of a superior order. Our expectations have not been disappointed. M. Sammarco has returned to us this year; he has sung at the Theatre des Champs Elysees in the admirable performances of "The Barber of Seville," and he impressed the Parisian public by the mastery with which he acted and sang the role of Figaro. Oh, the beautiful timbre of this voice! Oh, the exquisite purity of this diction! Oh, the astonishing musical surety of this interpretation! For in Figaro one must not give simply the sonorous rendering of the role, but must, as M. Sammarco does, seek out also the spirit and character of the music. And this is why and how M. Sammarco shines.
25We are to hear him again next Thursday and Saturday in "The Barber of Seville," and there is no doubt that the ovations of the other day will be, if possible, repeated even more warmly.—(Translation), Comedia, Paris, April 29, 1913. (Advertisement.)
27A Grateful Pupil.
29The Musical Courier is in receipt of the following letter from a pupil of Eleanor McLellan, the noted New York vocal authority:
31After several years of study with different teachers throughout the country, without results, I became very much discouraged with my voice and at times thought there was no hope for me. Fortunately, a few months ago, while reading The Musical Courier, I saw the article called, "Eleanor McLellan Solves a Problem." I was so forcibly struck with what she said that I decided to give my voice another trial, and I am delighted to know that I have at last found just what I've been seeking for several years. In my ten weeks' study with Miss McLellan she certainly has brought to life a voice which previous studying had failed to arouse. She is certainly a master of tone formation and of correct breathing—the two essentials of good singing. She understands her subject thoroughly. She is able to set forth her ideas and get her results—phenomenal results. She is truly a great and marvelous teacher—a wonderful creation. These reflections strike you after every lesson.
33I shall never study any other but the "McLellan Method," for I am fully convinced that it is the only system of vocal culture that will stand any test. Aside from Miss McLellan's teaching ability, she is a singer with brains, voice and ideas. Her voice is of an unusually beautiful quality—a voice of gold, perfectly placed and marvelously controlled. Words cannot express my appreciation of what Miss McLellan had done for my voice. I owe it all to her.
35Wishing her greater success in the future than in the past. I am, etc.,
37Romney, W. Va., May 5, 1913.
39Irene Hauser.
41Thomas Egan's Tour.
43Thomas Egan, the celebrated Irish tenor, has just finished an extensive tour of New England. The last engagements, at Hartford and Bridgeport, completed the tenor's first American tour, which has been most successful.
45Mr. Egan returns to America next season and will visit every part of the United States and Canada. Present indications make it apparent that Mr. Egan's second tour of this country will prove one of the events of the concert season.
47Following are criticisms culled from the Boston press:
49Last night his program included two arias from the operas, but was composed chiefly of Irish ballads. His voice is an unusually good one. It is a voice of emotional warmth, sympathetic and communicative of feeling. It is of ample size for operatic purposes. Last night there were indications of the heroic note.
51He sustains a phrase smoothly and with good control of the breath. The serenade of Turiddu, from "Cavalleria Rusticana," was well sung. Both the quality of the voice and the delivery had virility and impassioned intensity.—Boston Globe, April 14, 1913.
53Boston extended to one of the world's greatest Irish singers, Thomas Egan, of Dublin, a warm welcome when he appeared in the Boston Theater last night in classic songs and opera selections.
55It was the famous tenor's first appearance in Boston, and his splendid voice of genuine Irish quality, coupled with artistry of the highest order, made a favorable impression on the music lovers, who filled the big play house.—Boston Journal, April 14, 1913.
57Thomas Egan, the grand opera tenor, made his first appearance in Boston last night at a well attended concert in the Boston Theater. He was greeted enthusiastically and the prolonged applause after each number gave indication that he found his way to the hearts of his first Boston audience.
59Mr. Egan scored his success of the night, mainly by virtue of his excellent rendition of the ballad parts of the program. Outbursts of tumultuous applause greeted his singing of Moore's "Minstrel Boy," and other Irish and Scotch songs. As a ballad singer, Mr. Egan proved a master.—Boston Herald, April 14, 1913. (Advertisement.)
61Engagement Extraordinary GERMANY'S GREATEST CONTRALTO The Star of the Hamburg Opera
63Ottilie Metzger
65Will be in America during February and March, 1914, for 20 appearances only
67ALREADY BOOKED FOR
69St. Louis: Symphony Orchestra, Feb. 5, 6, first appearance this season. Boston: Symphony Hall, March 1st. Chicago: Kansas City, Baltimore, Washington, Cleveland, Richmond, Va.; New Orleans, etc., etc.
71New York: N. Y. Philharmonic, Three Appearances And N. Y. Oratorio Society, March 28th, Beethoven's Messa Solemnis, the last appearance before sailing.
73"No Applications West of Omaha can be Entertained"
75Concert Direction M. H. HANSON 437 Fifth Ave., New York
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