Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 31
Scan 31
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
120 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 34. See the scan on archive.org.
1One Hundred and Twenty-five Wagner Performances.
2Jane Osborn-Hannah, who has returned from the transcontinental tour with the Chicago Opera Company, is noted particularly for her impersonations of the Wagnerian heroines, although she has also won distinguished success in the Italian and French field with such parts as Butterfly.
4JANE OSBORN-HANNAH AS SIEGLINDE.
6Nedda, Aida, Mimi, Marguerite, Donna Anna, Desdemona, etc. It has been stated that she has probably sung more Wagnerian roles than any other native American woman, and her record in this line is one of which any artist might be proud.
8Her first engagement was under Arthur Nikisch, in 1906, as leading soprano at the Leipzig Grand Opera, for which she had prepared herself under Rosa Sucher, the noted operatic singer. During this engagement of three years, she established a reputation as a soprano of the first rank, and appeared in "The Flying Dutchman," "Walküre," "Lohengrin," "Tannhäuser" and "Meistersinger." In the spring of 1906 she was engaged to sing Wagnerian roles at Covent Garden, London, appearing before the King and Queen four times. She also sang Senta in Berlin for the Emperor and Empress of Germany, who personally congratulated her. Subsequently, she appeared in many of the royal opera houses in Germany, including Dresden, Hanover and Munich. In 1909 she was engaged by the Metropolitan Opera Company of New York, and re-engaged for the following season. During that year she also sang ten appearances with the Chicago Opera Company, with which organization she has since been identified.
10Other famous opera houses which have heard Madame Osborn-Hannah are the Metropolitan Opera House in Philadelphia; Boston Opera House, Auditorium, Chicago; Tivoli Opera House, San Francisco, and many less noted. Besides Nikisch, she has sung under the direction of Richard Strauss, Hans Richter, Ernst von Schuch, Alfred Hertz, Alfred Szendrei and others. The press has been unanimous in regard to her voice and impersonations. All agree that her tones are of exceptional sweetness, that her knowledge of the business of the difficult roles is complete, that she is an artist whose movements are easy and graceful, and that she shows a splendid grasp of the Wagnerian traditions. This season she has made a specialty of Sieglinde, which the critics have termed "ideal," on account of her thorough comprehension of the role, her experience in enacting it many times, while her voice seems precisely fitted to the music. Her temperament seems to coincide genuinely with the Wagnerian creations, while she is able to manipulate her voice so as to fit every requirement.
12It is not every artist who can turn from Wagner to Verdi, Leoncavallo, Puccini, Gounod and Mozart, yet, having sung over 125 performances of Wagner opera, she appears just as much at home in works of the opposite character. The San Francisco Chronicle proclaimed her a true dramatic soprano, and the San Francisco Call said that she realized the vision of Sieglinde as Wagner harbored it in his luxurious imagination. The Los Angeles Examiner employed the word "superlative" in referring to her work, while the other papers spoke in a most complimentary manner.
14Madame Osborn-Hannah has been re-engaged by the Chicago Opera Company for the entire season of 1913-14, and will be heard in an enlarged repertory containing several new roles which she has never before sung in this country.
16Three American Institute Recitals.
17Sara Jernigan's nine year old pupil, Etta Schult, played a program of a dozen piano pieces, consisting of folksongs, pieces by Mozart, Gurlitt, Hackh, Behr and (for two pianos) a barcarolle and "Valse Mignonne," by Wachs, at a twenty minute recital, May 24, at the American Institute of Applied Music, New York, Kate S. Chittenden, dean. She plays with accuracy, good tone and reliable memory, showing natural talent under good development. Following this, there was a miscellaneous recital (the twenty-seventh of the season) by pupils who study the piano, with two choruses by boys and girls, respectively. This program, of thirteen numbers, brought forward pianists of various ages and stages of advancement, juniors in large degree, however.
19What can be accomplished in thirteen lessons was shown in the case of Miss Ditto's pupils, Constance Kreuter and Louise Kreuter, who already have a nice touch and play accurately. Helen Smith, too, excels in tone, and Clarence Simoni (the only boy) played Nevin's "Barchetta" well. The others who played were Celia Hirshman, Marion Knighton, Elise Dardek, Charlotte Hoyt, Mamie Rosenbluth, Edith G. Williams, Eloise Close, Helen L. Snyder and Alice R. Clausen. The boys' tone production was not of the best in their singing of Schumann's "Gipsy Life." The girls' best singing was in "May Song"; they also sang "Rejoice Greatly," in G minor, in unison, with accuracy and good speed.
21The third recital, named in the foregoing caption, takes place next Monday afternoon, June 2, at institute headquarters, when piano, violin and children's chorus music will make up the program.
23Harold Nason's Pupils Give Concert.
24On the afternoon of May 12, at the Acorn Club, 1618 Walnut street, Philadelphia, Pa., the annual concert given by the pupils of the Leschetizky School of Piano Playing, of which Harold Nason is director, drew a large and appreciative audience. All who took part did finely and the work of the students as a whole displayed to advantage the excellent teaching of both Mr. Nason (who is a pupil of Leschetizky) and William Warren Shaw, who conducts the vocal department. Five of the pupils who took part are now doing successful professional work; they are: Edna Aurelia Jones, Lotta Leidy Young, Phillip Warren Cooke, Martha Why and Dorothy Heider. Miss Why has been engaged to play with the Philadelphia Orchestra next season.
26The program follows:
27Overture to Euryanthe (two pianos—eight hands)………..Weber
28Mrs. Lafayette Lentz, Jr., Edna A. Jones, Dorothy Miller, Mary D. Vennum.
29Idylle in A……………………………………………..MacDowell one of two readings
30Idylle in A…………………………………………MacDowell one of two readings
31Goliwog's Cake Walk………………………………….Debussy
32Catherine F. Zieber.
33Valse Triste……………………………………………..Sibelius one of two readings
34Valse Triste…………………………………………..Sibelius one of two readings
35Mary Thompson.
36Liebestraum No. 3………………………………………Liszt
37In the Hall of the Mountain King………………………..Grieg
38Elizabeth George.
39Concerto in A minor……………………………………Grieg one of two readings
40Concerto in A minor…………………………………..Grieg one of two readings
41(With orchestral part on second piano.)
42Edna Aurelia Jones.
43Songs—
44A Passing Cloud………………………………………Leoni
45Nocturne……………………………………………….Chadwick one of two readings
46Nocturne……………………………………………..Chadwick one of two readings
47Edna Grassmuck.
48Romance in F sharp……………………………………Schumann one of two readings
49Romance in F sharp…………………………………..Schumann one of two readings
50Caprice in G…………………………………………..Moszkowski
51Mary Ruth Newell.
53Grand Polonaise in A flat, op. 53………………………..Chopin
54Mary D. Vennum.
55Reveil de Printemps……………………………………Fripl one of two readings
56Reveil de Printemps………………………………………Fripl one of two readings
57Hark, Hark the Lark………………………………….Schubert-Liszt
58Lotta Leidy Young.
59Concerto in A minor……………………………………Schumann one of two readings
60Concerto in A minor…………………………………..Schumann one of two readings
61(With orchestral part on second piano.)
62Dorothy Miller.
63Songs—
64Hinaus……………………………………………………Ries one of two readings
65Hinaus………………………………………………….Ries one of two readings
66Echo………………………………………………………Somerset one of two readings
67Echo…………………………………………………….Somerset one of two readings
68Phillips Warren Cooke.
69Hungarian Fantaisie……………………………………Liszt one of two readings
70Hungarian Fantaisie…………………………………..Liszt one of two readings
71(With orchestral part on second piano.)
72Martha Why.
73Reverie in A flat………………………………………Schuett
74Prelude…………………………………………………Rachmaninoff one of two readings
75Prelude……………………………………………….Rachmaninoff one of two readings
76Dorothy Heider.
77(Pupil of William Heider, of the faculty of the Leschetizky School.)
78Concerto in G minor……………………………………Mendelssohn one of two readings
79Concerto in G minor…………………………………..Mendelssohn one of two readings
80(With orchestral part on second piano.)
81Martin Lisan.
83Reinald Werrenrath's Engagements.
84The fact that Reinald Werrenrath will enjoy a well earned rest when he sails for London on May 31 is evident when one realizes the amount of work he has done in the past few weeks. From the first of April to the middle of May the well known baritone has appeared with the following:
85Kansas City Symphony Orchestra.
86Topeka, Kan., Recital in Parkhurst series.
87Fort Wayne, Ind., Apollo Club.
88Detroit, Mich.
89Toledo, Ohio, Eurydice Club.
90Pittsburgh, Pa., Apollo Club (re-engagement).
91Philadelphia, Strawbridge & Clothier Chorus (re-engagement).
92Spartanburg, S. C., festival.
93New York (Aeolian Hall).
94Lawrence, Mass., festival.
95Nashua, N. H., festival (fourth season).
96Portland, Me., Choral Art Society (re-engagement).
97Mr. Werrenrath returns to America to fill engagements in Knoxville and Nashville, Tenn., the latter part of July. In August he appears at the MacDowell Festival at Peterborough, N. H., in addition to filling several engagements along the New England coast. He has also been engaged for the festival at Canobie Lake, N. H., early in September.
99Ellis Clark Hammann's Fine Season.
100Ellis Clark Hammann, the well-known pianist and accompanist of Philadelphia, has had a very busy season. In addition to his many engagements, which kept him busy until April, he announces the following:
101April 1—Accompanist at Thaddeus Rich recital in Philadelphia.
102April 3—Accompanist at Marion Klotz recital in Philadelphia.
103April 7—Soloist at private musicale in Philadelphia.
104April 16—Soloist at concert of Eurydice Club at Germantown, Pa.
105April 18—Accompanist at Mildred Faas recital in Philadelphia.
106April 26—Soloist at concert of the Orpheus Club in Philadelphia.
107April 29—Accompanied Horatio Connell at the Haydn Club, Philadelphia.
108April 30—Accompanied Mary Hissem de Moss at the concert of the Fellowship Club, Philadelphia.
109May 1—Soloist at Choral Club concert, Philadelphia.
110May 7—Soloist at recital of Joseph Simkens, Philadelphia.
111May 14—Soloist with Orpheus Club of Philadelphia at Ogontz School for Girls, at Ogontz, Pa.
112June 5—Soloist at Commencement Exercises of Hahnemann College, Philadelphia.
114ELLIS CLARK HAMMANN.
116June 13—Soloist at Commencement Exercises of William Penn High School, Philadelphia.
117Mr. Hammann will sail for Europe on June 24 and, after an extended tour abroad, will return to this country for his autumn engagements about the middle of September.
119The late Erich Wolff's ballet, "Zlatorog," had a successful hearing recently in Prague.
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