Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 63
Scan 63
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
195 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 64. See the scan on archive.org.
1GRAND OPERA IN CHICAGO.
3"Cristoforo Colombo" Has Chicago Premiere—Titta Ruffo Is Great in "Rigoletto"—George Hamlin Wins Success as Don Jose in "Carmen"—"The Girl" Again.
5AUDITORIUM.
6"Rigoletto," December 1.
8The appearance of Titta Ruffo in the title role was the signal for a sold out house and the enthusiasm of the audience was so great that after the third act Ruffo and Miss Zeppilli were forced to repeat the duet. The cast in full follows:
10The Duke ………………………………………Aristodemo Giorgini
11Rigoletto ………………………………………Titta Ruffo
12Gilda …………………………………………..Alice Zeppilli
13Sparafuscio …………………………………….Gustave Huberdeau
14Maddalena …………………………………….Margaret Keyes
15Giovanna ………………………………………Louise Berat
16Monterone …………………………………….Constantin Nicolay
17Marullo …………………………………………Nicolo Fossetta
18Borsa ……………………………………………Emilio Venturini
19Ceprano ……………………………………….Vittorio Trevisan
20The Countess …………………………………Minnie Egener
21A Page …………………………………………Minnie Egener
23Conductor, Ettore Perosso.
25The performance of "Rigoletto" was given with one of the best rounded out casts of the season. Ruffo came into his own again in "Rigoletto," and his remarkable voice and the art with which he uses it hold his audience spellbound. Giorgini was the Duke and gave great significance to the role. His voice is of beautiful quality and his arias were so well done that the applause which followed was well deserved. Miss Zeppilli as Gilda has been heard to better advantage in this role; the first two acts did not show her at her best, but in the third act she came into her own and redeemed herself. The remainder of the cast was capable. Petrosio conducted splendidly.
27"Samson and Delilah," December 2.
29The first performance of "Samson and Delilah" brought forward as its bright particular star Mr. Dalmores. So far this season we have heard him only in Wagnerian roles, in which he is not so happy. The cast follows:
31Dalila …………………………………………..Julia Claussen
32Samson ………………………………………….Charles Dalmores
33The High Priest ………………………………..Hector Dufranne
34Abimelech ……………………………………..Armand Crabbé
35An old Hebrew ………………………………..Gustave Huberdeau
36A Philistine messenger ……………………..Emilio Venturini
37First Philistine …………………………………Desire Defreire one of two readings
38First Philistine …………………………………Desire Defrere one of two readings
39Second Philistine ……………………………..Nicolo Fossetta
40Premiere Danseuse Etoile …………………..Rosina Galli
42Conductor, Marcel Charlier.
44As Samson, Mr. Dalmores is ideal; he brings to the part the histrionic value that is essential and his voice was never heard to better advantage. Mme. Claussen, who has been suffering from a severe cold, showed evidence of it in her singing, although her acting of Delilah was authoritative. Dufranne as the High Priest gave that small role a careful reading. The others were well cast. Charlier gave a beautiful reading of the score and the work of the chorus was excellent.
46"The Girl of the Golden West," December 3.
48This revival, after two years of absence from the Chicago boards, was given before a small house, and although the excellence of its interpreters was marked there seems to be little in the opera worthy of enthusiasm. The cast follows:
50Minnie …………………………………………Carolina White
51Dick Johnson ………………………………….Amedeo Bassi one of two readings
52Dick Johnson …………………………………..Amedeo Bassi one of two readings
53Jack Rance …………………………………….Giovanni Polese
54Nick …………………………………………….Francesco Daddi
55Ashby …………………………………………..Henri Scott
56Sonora …………………………………………..Hector Dufranne
57Trin ……………………………………………..Edmond Warner
58Bello ……………………………………………Alan Turner
59Sid ……………………………………………..Nicolo Fossetta
60Harry …………………………………………..Ralph Errolle
61Joe ……………………………………………..Emilio Venturini
62Happy …………………………………………..Frank Preisch
63Larkens ………………………………………….Vittorio Trevisan
64Billy …………………………………………….Gustave Huberdeau
65Wowlke …………………………………………Beatrice Wheeler one of two readings
66Wowlke ………………………………………….Beatrice Wheeler one of two readings
67Jake Wallace …………………………………..Armand Crabbé
68Jose Castro …………………………………….Constantin Nicolay
69The Pony Express Rider …………………….Desire Defreire one of two readings
70The Pony Express Rider …………………….Desire Defrere one of two readings
72Conductor, Cleofonte Campanini.
74Miss White and Bassi did splendid work. Polese as the Sheriff sang and acted very well. Campanini brought out clearly what music there is in the score.
76"Cristoforo Colombo," December 4.
78This opera was heard for the first time here and made no very great impression. We are particularly fortunate in hearing new works this year, as last week we had for the first time "Don Quichotte"; this week "Cristoforo Co-
80lombo," and next week we are promised "Le Ranz des Vaches." The cast for "Cristoforo Colombo" follows:
82Don Fernan Guevra …………………………….Amedeo Bassi
83Isabella d'Aragona ……………………………Rosa Raisa
84Don Roldana Ximenes ………………………..Gustave Huberdeau
85Marguerite …………………………………….Francesco Federici
86Rodrigo di Triana ………………………………Edmond Warner
87Matheos ……………………………………….Emilio Venturini
88Uno Villanelia …………………………………Ruby Heyl
90Tre Romel. { ………………………………….Francesco Federici
91Un Frate ……………………………………….Henri Scott
92Quattro Cavalieri. { …………………………..Constantin Nicolay
93……………………………………………..Edmond Warner
94……………………………………………..Nicolo Fossetta
95……………………………………………..Ralph Errolle
97Conductor, Cleofonte Campanini.
99Inasmuch as this work was thoroughly reviewed in the MUSICAL COURIER of November 26, nothing further remains to be said for its Chicago presentation. Aside from deviating from pitch the chorus work was good and the lighting for the first time this season was excellent. Under the direction of Cleofonte Campanini the orchestra worked wonders with a score that is rather tiresome. Ruffo carried the part of the discoverer with great conviction and Rosa Raisa made a good impression as the Queen, although her voice in spots was rather hard.
101"The Jewels of the Madonna," December 6 (Matinee).
103Wolf-Ferrari's "Jewels" was the offering on Saturday afternoon and was sung before a crowded house. This opera is one of the most stirring in the repertoire and meets the popular appeal. The cast follows:
105Gennaro ………………………………………Amedeo Bassi
106Carmela ……………………………………….Louise Berat
107Moliella ……………………………………….Carolina White
108Rafaelle ……………………………………….Giovanni Polese
109Fiaso …………………………………………..Francesco Daddi
110Cicilio …………………………………………..Emilio Venturini
111Stella …………………………………………..Amy Evans
112Concetta ………………………………………Mabel Riegelman
113Serena …………………………………………..Minnie Egener
114Grazia …………………………………………..Rosina Galli
115Totonno …………………………………………Ralph Errolle one of two readings
116Totonno ……………………………………….Ralph Errolle one of two readings
117Rocco …………………………………………..Nicolo Fossetta
118The Town Crier ……………………………….Jean de Keyser
119A Young Lady …………………………………Minnie Egener
120First Young Man ………………………………Nicolo Fossetta one of two readings
121First Young Man ……………………………….Nicolo Fossetta one of two readings
122Second Young Man ………………………….Rocco Franzini
123Third Young Man ……………………………Desire Defreire one of two readings
124Third Young Man ……………………………Desire Defrere one of two readings
125First Cammorist ……………………………….M. Micheloff
126Second Cammorist ……………………………Desire Defreire one of two readings
127Second Cammorist ……………………………Desire Defrere one of two readings
128The Father …………………………………….Vittorio Trevisan
130Conductor, Cleofonte Campanini.
132Bassi, who created the role of Gennaro, two seasons ago, repeated his former triumph on this occasion. He sings and acts the part as though it were written especially for him. This is also true of Carolina White, who was in excellent voice yesterday. The role of Rafaelle in the hands of Polese brought forcibly to our minds Sammarco, and we regretted his absence from the company. Mr. Polese apparently lacks imagination and temperament and in his hands the Camorra leader fell far short of what was expected. The chorus members were not at all sure of themselves and the first act went badly. Mr. Campanini, as usual, was one of the bright stars of the day.
134"Carmen," December 6 (Evening).
136The second performance in English was "Carmen," given before a large and enthusiastic audience. The cast follows:
138Don Jose ……………………………………..George Hamlin one of two readings
139Don Jose ………………………………………George Hamlin one of two readings
140Escamillo ……………………………………..Alan Turner one of two readings
141Escamillo ………………………………………Alan Turner one of two readings
142Zuniga …………………………………………..Henri Scott
143Morales ……………………………………….Desire Defreire one of two readings
144Morales ……………………………………….Desire Defrere one of two readings
145Lillas Pastia …………………………………..Jean de Keyser
146Carmen ……………………………………….Beatrice Wheeler
147Micaela ……………………………………….Mabel Riegelman
148Frasquita ………………………………………Amy Evans
149Mercedes ……………………………………..Margaret Keyes one of two readings
150Mercedes ………………………………………Margaret Keyes one of two readings
151II Dancardo …………………………………..Constantin Nicolay
152El Remendado …………………………………Francesco Daddi
153Incidental dances by corps de ballet.
154Premier Danseuse ……………………………..Rosina Galli
156Conductor, Marcel Charlier.
158The Don Jose of George Hamlin left little to be desired; as always, he sang well, being an excellent musician and the possessor of a tenor voice of good quality and absolute pitch. The surprise of the evening, however, was his acting, which was convincing, soldierly and dramatic. His strides since his first appearance with the company are nothing short of remarkable. Beatrice Wheeler, of Boston, made her debut here as Carmen, and although she is accredited with having sung in opera in Madrid, her Carmen was not convincing. After due allowance is made for her nervousness, which was very apparent in the first act, she lacked authority and never rose to the occasion. Mr. Turner, the Toreador, also a newcomer, was successful with the aria in the second act. Mabel Riegelman as Micaela was excellent; she acted well and gave a beautiful rendition of the third act aria. The rest of the cast was in good hands. Charlier conducted.
160A Musical Luncheon.
162[Chicago Evening Post.]
164With most of us making dates in our engagement books for operas and concerts and arranging musicales on our own schedule of entertainments, a musical luncheon would be an appropriate entertainment just now, and one that music lovers especially would enjoy.
166A harp, or other musical instrument, made of flowers, would make a pretty centerpiece; or if this is too difficult to achieve, bars of music could be outlined with vines or leaves, and flowers used for notes. A few bars of some favorite melody could be thus arranged, and would make a most attractive centerpiece, and one that would be decidedly interesting.
168Pretty place cards can be made by pasting pictures of composers upon cards. These pictures can be found in the magazines, often among the advertisements, and in musical catalogues. They can be cut out and pasted on the cards with photographer's paste or mucilage, without in any way increasing the cost of entertainment. A few bits of music from the most famous work of the composer whose picture is on the card would make the cards still more interesting. And if any of the guests has a favorite composer, it would be a delicate compliment to give her the card bearing the picture.
170If it were possible to serve dishes particularly liked by famous musicians, such a feature would add to the interest of the luncheon. And musical conundrums can be propounded during the course of the luncheon, if the hostess desires.
172For favors, little banjos, tiny pianos, drums and such things filled with candy can be found in the shops in great variety, and make interesting little souvenirs, as well as add to the attractive appearance of the table.
174After the luncheon is over, a musical program can be given, either by the guests, if they are willing, or by some well known musician, if the hostess wishes to provide such a treat. Or if she does not object to the expense, she can arrange her luncheon on the day of an opera matinee or afternoon concert, and then give her guests a box part at the performance.
176Or, if some other form of entertainment is desired after the luncheon, cards or other games can be enjoyed and the prizes be of a musical character. There are delightful books published now on musical subjects. Fine photographs of composers are to be secured. And there are many carbon reproductions of famous paintings that music lovers would welcome. And there are even more practical gifts, such as music rolls, metronomes and such things.
178So that a woman who has a number of musical friends could give a very enjoyable entertainment of this sort, and one that the music lovers of her set would thoroughly enjoy.
180Caroline Beebe with Longy Society.
182If brevity be the soul of good music, then the rather short program rendered by the Longy New York Modern Chamber Music Society, at its second New York concert of the season, in Aeolian Hall, Saturday evening, December 6, could be easily considered a striking example.
184Emmanuel Moór's suite (no. 103), for flute, oboe, clarinet, horn, bassoon, two violins, viola, cello and bass; Henry Woollett's sonata in C sharp minor, for cello and piano; Jean Hurl's pastoral, for three flutes, oboe, English horn, two clarinets, horn, two bassoons and piano, constituted the program.
186Conspicuous, however, in her inconspicuous playing—if such a paradox be allowable—was the exquisite piano work of Caroline Beebe. Her rippling accompaniments, thoroughly musically throughout, were delivered with a facility of technic and poetical insight which has attracted so much favorable attention to the playing of this pianist heretofore.
188To return to the Longy organization: a chain is said to be no stronger than its weakest link. When "links" of the Boston Symphony Society can show such strength in concerted playing and such pure tonal quality, what wonder that the world-famed orchestra ranks as it does today in the realm of musical organizations?
190"Did she come to the door when you serenaded her with your mandolin?"
191"No; but another fellow came along and brought her out with an auto horn."—Louisville Courier-Journal.
193"They say cabarets aid digestion."
194"They do. Because where there's a cabaret there's usually less to eat."—New York World.
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