Books › Musical Courier 1925-12-17: Vol 91 Iss 25, 1925 › scan 33
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Musical Courier 1925-12-17: Vol 91 Iss 25, 1925
97 lines. Read by computer on 29 September 2026. Printed page 34. See the scan on archive.org.
1METROPOLITAN OPERA
3AIDA
4Interest in the performance of Aida at the Metropolitan Opera on Saturday afternoon, December 5, centered in the debut of Carmela Ponselle, contralto, who sang Amneris. She is the sister of the Metropolitan's famous prima donna, Rosa Ponselle. Carmela Ponselle's voice is not unknown in these parts, for she has appeared in concert and also in various operatic performances. It is powerful, clear and rich, not unlike the voice of her sister in quality. The voice is under excellent control from bottom to top of the rather unusual range, and she sings with intelligence and conviction. At the beginning, the nervousness naturally incident to a Metropolitan debut caused a certain tremulousness which was conquered later on. She was particularly effective in her big scene in the fourth act. At this point, and whenever opportunity offered, the house did not fail to assure her of its thorough approval. All in all, Carmela Ponselle showed herself quite worthy in the company in which she appeared. It was a distinctly auspicious debut.
6Elizabeth Rethberg sang superbly in the title role, and the same is true of Giovanni Martinelli, who gave a splendid exposition of Radames. Those two fine basses, William Gustafson and Jose Mardones, were strong in support, while Amonasro fell to De Luca. Tullio Serafin conducted.
8II. TROVATORE, DECEMBER 5
9The usual capacity audience turned out Saturday evening for the popular priced performance of II Trovatore, the first of the season. Owing to the indisposition of Rosa Ponselle, Frances Peralta sang Leonora. Mario Basiola was the Count DeLuna and Vittorio Fullin was Manrico. Leon Rothier was another member of the cast. Miss Peralta gave a splendid performance and the two newcomers to the Metropolitan, Messrs. Basiola and Fullin, justified the expectations of the big audience; in fact both were the recipients of much noisy applause. Excellent work was done by the large chorus and Mr. Papi conducted. One of the important principals was Jeanne Gordon as Azucena. Vocally, she has rarely ever been heard to better advantage and she also made a splendid stage picture. She was the recipient of much sincere applause. Taken in its entirety, the Saturday night audience expected a fine performance and got it.
11SUNDAY NIGHT CONCERT
12The fifth Sunday night concert, under the direction of Giuseppe Bamboschek, brought forth a long list of artists including: Laura Robertson, Marcella Roessler, Charlotte Ryan, sopranos; Jeanne Gordon, contralto; Mario Chamlee, Giordano Paltrimeri and Curt Taucher, tenors; Giuseppe Danise, Gustav Schuetzendorf and Lawrence Tibbett, baritones; Adamo Didur, William Gustafson and Leon Rothier, bassos. The program opened with act three of Faust and included acts from Samson et Dalila, Boris Godunoff and Lohengrin. All the artists contributed their best to make the evening one of unusual pleasure. A feature, however, was the Coronation Scene from Boris with Mr. Didur and Paltrimeri, the popular basso coming in for a large share of the honors.
14LA VESTALE, DECEMBER 7
15On Monday evening, La Vestale was repeated at the Metropolitan before a capacity house that manifested much approval of both the score and the singing of the artists, headed by the gloriously voiced Rosa Ponselle, who did some memorable singing during the evening. Others sharing first honors were Margaret Matzenauer, Edward Johnson and Giuseppe de Luca. Serahin at the conductor's desk came in for part of the audience's applause. Well might he, for he gave to the score an authoritative and excellent reading.
17Die Meistersinger, December 9
18Fortunate is the opera house that can present a performance of Die Meistersinger with such a cast as was heard in it on December 9, at the Metropolitan. First and foremost was Clarence Whitehill in his incomparably fine presentation of Hans Sachs. As has been repeatedly stated in the Musical Courier, there is no baritone today that can be compared to him in this role, either from the standpoint of singing or acting. In good voice on this occasion, he had as a worthy singing partner Elisabeth Rethberg in the role of Eva. Their scene in the second act was a pure delight. Mme. Rethberg sang superbly throughout the evening. Another fine voice in the cast was that of Marion Telva who sang Magdalene and gave this somewhat unsatisfactory role a most sympathetic presentation. George Meader is a David second to none. Curt Taucher was the Walther Von Stolzing; his vocal resources are unfortunately decidedly limited but otherwise he is an excellent artist. Paul Bender again sang Pogner as he has done many times before and Schuetzendorf was the energetic Beckmesser.
20The exquisite close of the second act, one of the most effective moments in all of Wagner, continues to be spoiled by careless stage management and the thorough inadequacy of the person to whom the part of the Night Watchman is entrusted. Bodanzky conducted with tireless energy. It is unfortunate that his wrist is not as flexible as his elbow is powerful.
22FAUST, DECEMBER 10
23On December 10, Feodor Chaliapin made his last bow at the Metropolitan until spring, before an audience that was large and demonstrative in its enthusiasm. The audience applauded vociferously at every moment possible. He dominated the stage completely with his emotional acting and dramatic singing of the role (Mephistopheles) with which his large following of admirers is so familiar. Edward Johnson was the Faust and he was the recipient of rounds and rounds of applause after his beautiful singing of the florid solo in the garden scene. Others who supported them were Mario Basiola, Valentine; James Wolfe, Wagner; Ellen Dalossy, Siebel, and Kathleen Howard, Martha. Louis Hasselmans conducted.
25(Other reports of the week will appear in the next issue.)
27The Gentleman from K. C.
28Walter A. Fritschy, concert manager from Kansas City, was telling some friends about his concert courses the other day, and what he told is worth quoting as it sheds light upon the whole business of salesmanship as it is related to the concert business. To be brief, Mr. Fritschy began selling artists in Kansas City nineteen years ago at a dollar a seat. He then organized a concert series of the best artists, six dates for five dollars. He then again increased his business and sold seven concerts of a series for $7.50. His next jump was to nine concerts for $10. In 1919 he was selling nine concerts for $7, $9 and $12, according to seat location. Now he has gone into the big Convention Hall where he is selling 4,500 seats at $3, $4, and $5 for a course that includes the Minneapolis Symphony Orchestra, Mr. and Mrs. Lhevinne, Lawrence Tibbett, Schipa and Galli-Curci. That is a steady and healthy growth and has been possible only because Fritschy has never offered his patrons anything but the best artists, and has "sold" them the idea of artist equality.
30(See editorial in this issue.)
32Cooperative Institute of Music in New York
33The Cooperative Institute of Music, recently established in New York, is based on firm principles. Every member—teacher or scholar—has equal rights to the principles. The two main principles are (1) Cooperation between teachers and (2) cooperation between teachers and students. For cooperation one needs common interests, qualities, abilities, talent, confidence and understanding.
35The teachers cooperate by taking all the moral (artistic) and financial responsibility on themselves. They are all true artists who are devoting their life to art. They understand that their common interest is through concentrated work, energies and ambition to build up and to develop this institution to the highest possible standards. They are not only experienced teachers with wide reputations but also are active performing artists—which means a connection between them, the students, the audience and the critics. They are recognizing and respecting each others talent and are willing to assist not only in artistic but also in social and humanitarian matters.
37On the other hand, the relation between teacher and pupil is not rigid or too academic, but a real friendly cooperation, working with, helping them toward the great field of art.
39Technical fitness is only one grade in musical education—which never should develop into mechanism. Technique is really only a means to understand the products, contents of artistic creation, but is not an art in itself. Therefore the thoughtful teacher will lead eager pupils carefully through the phases of artistic development. Theory and history of musical art, general knowledge about creating and performing musicians should be taught gradually with the instrumental or vocal instruction. The teacher should be a musician who is able to explain things thoroughly and practically. The scholars should hear much good music from good musicians.
41The Cooperative Institute of Music frequently will have artist-teachers' and pupils' recitals, which is one of the best ways to inspire and to concentrate on the right basis the ambition of the talents. Institute recitals also will be arranged for talented artists, on which occasions musicians with absolute value, constructive critics, and music philanthropists will be invited to help the talents to join and strengthen the musical society.
43Lectures will be given by prominent representatives of the musical world, of literature, sociology, philosophy and the fine arts which will be open to pupils and to invited guests.
45One free scholarship is offered in the violin department by Jenó Donáth and one in the piano department by Joseph Kardos.
47The first teachers' recital will be held on December 20.
49JEWELS OF THE MADONNA
50(Continued from page 5)
51it was a fine characterization to add to the already long and important list she has shown us in the few years she has been here. Her triumph was complete and thoroughly deserved. Martinelli was a worthy partner. In a role calling for much more dramatic display and real acting than generally falls to his lot, he showed hitherto improved talents. His final scene was really touching. And he sang beautifully throughout. Gennaro, the tenor in this opera, gets comparatively little opportunity for vocal display, and Martinelli was always more than equal to the demands put upon him. Musically speaking, the baritone (Raffaele) has the fat part of the opera. Danise sings more throatily than ever this season and was disappointing, not only vocally but in his acting. Never for a moment did he suggest the daring, wicked leader of the Camorristi. One recalled, because of the contrast, a predecessor in the role—Samarco. The show was held up every time when he sang the serenade in the second act and unable to proceed until he had repeated it.
53The small part of the mother fell to Marion Telva, whose rich mellow voice brought it out to best advantage. Bada did an excellent bit as Biaso, the scribe. Nanette Guilford, as Stella, had some solo work in the third act which she sang more than satisfactorily. And the smaller roles—there are many—were all well taken care of. It is almost superfluous in reviewing a Metropolitan production to say that the chorus sang well. It does in ninety-nine cases out of a hundred, thanks to the indefatigable Chorusmaster Setti. Nor should mention be forgotten of the small boy's chorus from the public schools, which assisted in the great finale of the first act and had been carefully trained by Mrs. Lucy Morrison, an assistant supervisor of music in the public schools, and by Edoardo Petri, who directs the Metropolitan chorus school.
55The music of I. Giojelli is written with the same feeling for effect as the book—the story of which, by the way, is also by the composer, though the text was prepared by G. Zangarini and E. Golisciani. It betrays the composer's Italian blood in the grace, beauty and, when needed, the dramatic effectiveness of the melodies, while the score, with its frequently complicated counterpoint and its unerring taste in orchestration, is typical of a musician with the German blood and the thorough German training which were his. Gennaro Papi, conducting, would have given a better reading were he possessed of more of what is vulgarly known as "peg." He dragged things, particularly the first act, and his indeterminate beat never gets the most out of the orchestra in dramatic passages.
57Tertiza, Martinelli, and Stage Manager von Wymetal—these were the outstanding features of a performance that was greeted by a tremendous amount of enthusiasm from an audience that simply packed the house. The opera gives every promise of being a favorite. Score one more for Mr. Gatti-Casazza!
59Gray-Lhevinne Plays to Capacity Crowds
60During the second week of the present tour, Gray-Lhevinne was heard by more than ten thousand persons who paid admission to hear the violinist again, most of these concerts being repeat engagements. Again she had several successful Buffalo (N. Y.) recitals which were greeted with capacity attendance; among the Buffalo dates was a special matinee for students only, at the beautiful Hutchinson High School auditorium, when the artist made a deep impression with a rather heavy, classical program of the old masters and was greeted with a real ovation at the close. The recent Buffalo concerts are not to be confused with those of the last week of September, given at the opening of the Gray-Lhevinne tour.
62Two concerts at Fulton, N. Y., were also very successful, and at Cortland, N. Y., the capacity of the New State Normal auditorium was taxed to the utmost; a return engagement was at once requested.
64Bettina Freeman Back from Italy
65Bettina Freeman, dramatic soprano, has just returned from Italy, where she won success in leading roles in opera and where she will return after the holidays. Miss Freeman came back to the United States in order to spend Christmas and New Year's with her father, from whom she has been separated for the past two years. Her mother was with her in Europe, where they made many friends in the musical and social world abroad.
67MARICA PALESTI
68The Famous Russian Prima Donna
69DRAMATIC SOPRANO
70Concert and Opera
71Personal Management
72Address: 3 West 83rd Street
73Excerpts from Recent Press Comments:
74The New York Times, Dec. 4, 1925
75She displayed a beautiful voice, round and full, which she used with dramatic power. Her talent has free play in a great variety of songs.
76The New York American, Dec. 4, 1925
77She possesses taste and the confidence that comes with experience. Her voice combines quality, range and method, delightfully guided by intelligence.
78New York Telegram, 1925
79A beautiful voice of considerable volume and knows how to use it expressively.
80New York Telegram, 1925
81A voice of ample range and power and the theatrical effectiveness of her singing was indisputable.
82The Washington Times, 1925
83She has a powerful voice of much beauty and an unusual personality. I'd like to hear her with an orchestra, or in grand opera.
84The Washington Post, 1925
85Seldom have better artists been heard in Washington than Marica Palesti. She has a lovely resonant voice of ample volume, so amiable that it is almost perfect in its quality. Perfectly at home in the most difficult operatic selections, some of her shorter numbers were artistically unusual with their tenderness and winsomeness.
86The Washington Post, 1925
87Mme. Palesti sang in five languages, and musical intelligence of a high order was evident in all the numbers. Her ample delivery, gorgeous speaking voice, and the wonderful voice of her color and range, and sang with technical skill and imparted dramatic feeling to her work that proved her an artist of fine sensibilities.
88President Coolidge received Mme. Palesti in the White House and presented her with his autographed photograph.
89MME. PALESTI'S VOCAL STUDIO
903 W. 83rd St., New York. Phone: Schuyler 7704 (4-8 p.m.)
92Two Famous Organists now touring America
93ALFRED HOLLINS noted English organist and CHARLES M. COURBOIN noted Belgian organist
94Exclusive Management
95East of Mississippi: Alexander Russell, Wanamaker Auditorium, New York
96West of Mississippi and Canada: Bogue-Laberge Concert Management, 136 West 42 St., New York
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