Books › Musical Courier 1926-02-04: Vol 92 Iss 5, 1926 › scan 29
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Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
111 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 30. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1BOSTON
3CHICAGO OPERA PLAYS TO CAPACITY HOUSES
5BOSTON.—The Chicago Civic Opera Company opened its annual two weeks' visit here on January 25, at the Boston Opera House, with a praiseworthy performance of Gior-dano's thriller, Andrea Chenier. An audience truly representative of social, civic and industrial Boston filled the auditorium from pit to dome and came in holiday mood as well as attire. The result was a ready and enthusiastic response to every aspect of the Chicagoan's offering, but principally to the extraordinary art—vocal and histrionic—of Claudia Muzio, and to the altogether masterful conducting of Polacco. Manifestly, Miss Muzio has made tremendous strides as a singing-actress since her early days at the Metropolitan Opera House. Gifted with a lovely voice of generous range and dramatic power, she colors her tones to suit the mood of text and music, sings with the instinct of a born musician, and dramatizes her parts with such sincerity and imagination as to make her characterizations infallibly and invariably convincing. Moreover, she proved her versatility through a memorable performance of Violetta in La Traviata on Wednesday evening, a performance that revealed Miss Muzio as a coloratura soprano who makes vocal embroidery seem an integral part of song and the expression of emotion, with the result that she has become, figuratively speaking, the toast of the town.
7The repertory of the Chicago Company having been adequately reviewed in these columns during the current season, no attempt will be made to give detailed accounts of the productions in Boston. Suffice to say that audiences, representative of musical Boston and New England, flocked to the Opera House in huge numbers to witness the performances of Die Walkure on Tuesday evening and of Rosenkavalier on Thursday evening. Also in the nature of a revival was The Masked Ball on Saturday evening, which, too, attracted a huge throng—indeed, it appears that all the performances were sold out, a tribute to the excellent publicity work of Fred and Mary Toye, acting in conjunction with the local committee. New to Boston were the Wotan and Baron Ochs of Mr. Kipnis, both roles giving him ample opportunity to demonstrate his skill as a singer and his lofty standards as an interpretative artist. Miss Forrai proved adequate as Sieglinde but she emerged as a star in Rosenkavalier, her performance being worthy of companioning the Ochs of Kipnis. Of Miss Muzio we have already spoken—although it is always pleasant to recall her superlative work. Then there were what may now be called the old familiar faces in the Chicago roster. Miss Garden's Carmen and Thais are as good as ever, which means that they are unexcelled in our time. Mme. Raisa gave a highly intelligent impersonation of the Countess in Rosenkavalier, but had to wait until her appearance in The Masked Ball for the brilliant success that has always been her lot in this city. Miss Mason's singing as Sophie in Rosenkavalier and Marguerite in Faust proved again one of the features of the season. Schipa in Traviata was superb, and Hackett as Faust scored another notable success in his home town. Of further interest locally was the work of Clara Shear, a native of these parts, who sang Micaela in Carmen and the page in The Masked Ball. Miss Shear has made substantial progress as an operatic singer since her beginnings with the old Boston English Opera Company. She is the fortunate possessor of a lovely voice, of liberal range, which she uses with marked vocal skill, and sings moreover with emotional intuition that makes her interpretations convincing. She was vigorously applauded at every appearance. Richard Bonelli was another newcomer to score heavily, his performances in Traviata and in Faust setting a very high standard both for the quality of his singing and the characterizing power of his acting.
9The repertory for the week follows: January 25—Gior-dano's Andrea Chenier; 26—Wagner's Die Walkure; 27—Bizet's Carmen; 27 (evening)—Verdi's La Traviata; 28—Strauss' Der Rosenkavalier; 29—Massenet's Thais; 30—(matinee)—Gounod's Faust; 30 (evening)—Verdi's Ballo in Maschera.
11JULIUS BLEDSOE GIVES RECITAL
13A song recital was given January 10, at Jordan Hall, by Julius Bledsoe, Negro baritone, assisted by Winthrop Park-hurst, accompanist. Mr. Bledsoe presented an interesting program that included old airs; French, German and Russian songs, and a group of negro spirituals. This singer is gifted with a fine, resonant voice of unusual beauty, but he cannot yet be called a finished vocalist. As an interpreter he has a tendency to sentimentalize which leads him to distressingly slow tempi. His remarkable voice and earnestness of purpose were vigorously applauded.
15ROSAMOND JOHNSON AND TAYLOR GORDON IN NEGRO SPIRITUALS
17A large and extremely enthusiastic audience gathered at the Copley Theater, January 10, to hear Taylor Gordon, tenor, and J. Rosamond Johnson, pianist, in a program of Negro Spirituals arranged for voice and piano by Mr. Johnson. It proved unique entertainment, sufficiently interesting to warrant a return engagement at the same place, February 14. Mr. Johnson's idea of a simple piano accompaniment, but with occasional vocal contributions from the pianist, is designed to reproduce the atmosphere of the Negro camp meeting. Their choice of numbers ran the gamut of religious feeling—simple, direct and sincere—presented with the polish and refinements, so to speak, of the concert hall. Mr. Gordon's agreeable tenor voice, which he uses with skill and taste, combined with the resonant bass and pianistic ability of Mr. Johnson, contributed materially to the success of the concert. Their next appearance is being eagerly anticipated.
19RUSSIAN SYMPHONIC CHOIR HEARD AT SYMPHONY HALL
21The Russian Symphonic Choir, under the able direction of Basile Kibalchich, returned to Symphony Hall for a concert, January 17, before a keenly appreciative audience. An interesting and well-varied program comprised Russian liturgical music, an excerpt from Rimsky-Korsakoff's Christmas Eve, Gluck's Tantum Ergo, the Pilgrim Chorus from Tannhauser, numbers from Tschaikowsky, Ippolitov-Ivanoff, Bruch, Fiedler and Arbanhelsky, and various folk songs arranged by Mr. Kibalchich. The Choir renewed and deepened the excellent impression made here last season. Their colorful aspect, the virile and imaginative quality of their singing, the freshness of their voices and the command of nuance and rhythm that characterize their interpretations were again abundantly in evidence, much to the delight of the enthusiastic audience that heard them. The soloists—Ludmila Feodorova, Ivan Steschenko, Alexander Schilkevitch, A. Gregorieff and Dimitri Creona—were also well received. one of two readings
22The Russian Symphonic Choir, under the able direction of Basile Kibalchich, returned to Symphony Hall for a concert, January 17, before a keenly appreciative audience. An interesting and well-varied program comprised Russian liturgical music, an excerpt from Rimsky-Korsakoff's Christmas Eve, Gluck's Tantum Ergo, the Pilgrim Chorus from Tannhauser, numbers from Tschaikowsky, Ippolitov-Ivanoff, Bruch, Fiedler and Archangelsky, and various folk songs arranged by Mr. Kibalchich. The Choir renewed and deepened the excellent impression made here last season. Their colorful aspect, the virile and imaginative quality of their singing, the freshness of their voices and the command of nuance and rhythm that characterize their interpretations were again abundantly in evidence, much to the delight of the enthusiastic audience that heard them. The soloists—Ludmila Feodorova, Ivan Steschenko, Alexander Schilkevitch, A. Gregorieff and Dimitri Creona—were also well received. one of two readings
24HADLEY CONDUCTS PEOPLE'S SYMPHONY
26Henry Hadley conducted the People's Symphony Orchestra, January 17, at the Hollis St. Theater. Kalinnikoff's first symphony, Volkman's third serenade for strings, and pieces by Borodin and Ippolitov-Ivanoff gave Mr. Hadley fresh opportunity to disclose his familiar gifts as an orchestral leader. He has become quite a favorite with the followers of the People's Symphony and was accorded an enthusiastic reception. Arthur Hadley, the conductor's brother, played the solo passages for cello in the Volk-man serenade with his customary skill and musicianship. The soloist was Dorothy George, mezzo soprano, from the studio of Arthur Wilson. Miss George gave an effective rendition—vocally and dramatically—of the aria, Amour viens aider, from Samson et Dalila, and was recalled several times by her appreciative listeners.
28MIDWINTER CONCERT BY PEOPLE'S CHORAL UNION
30The People's Choral Union gave its first concert of the season on January 17, at Jordan Hall. A program of uncommon interest was presented. First came an arrangement of Mendelssohn's first organ sonata for chorus and mixed quartet, the work of Melchiorre Mauro-Cottone, admirable organist of the Capitol Theater (N. Y.), who played the organ part at this performance. Claire Maentz, soprano; Gertrude Tingley, contralto; Rulon Robison, tenor, and Charles Bennett, baritone, were the competent local singers who composed the quartet. There followed Charles Bennett's effectively written cantata for women's voices with soprano and baritone solos, The Lady of Shalott, which won the $500 prize offered by the National Federation of Music Clubs last year. Mme. Maentz and Mr. Bennett sang the solo parts with their usual skill. A setting for mixed chorus of Samuel Lover's poem, The Whistlin' Thief, by Franz Bornschein of Baltimore, was another novelty of the occasion. Melodious and animated music, this composition had been awarded the $100 prize offered by the Union for the best choral work for mixed voices. The concert closed with a spirited performance of Frederick S. Converse's psalm for mixed chorus and soprano solo, I Will Praise Thee, O Lord.
32Paris Opéra to Produce Prize Opera
34PARIS.—A jury of twenty-nine distinguished French composers, under the presidency of André Messager, has awarded the Heugel prize of 10,000 francs to Marie-Joseph Canteloube for his opera, Le Mas. Three works had been retained for examination by the jury, Le Mas, Sarrati le Terrible by Bousquet, and Le Giaour by Marc Delmas. Mr. Canteloube has had a number of his works performed. There is a suite for violin and piano, Dans la Montagne; a symphonic poem, Vers la Princess Lointaine, played with success at the Concerts Colomnes in 1912; Au Printemps, written to a text of Maggie Teyte and performed in 1919 by the Concerts Colomnes; and other equally successful works.
36Le Mas is Mr. Canteloube's most important work. He began work on it in 1908, the libretto as well as the music being his own, and it was only in 1912 that the music was written. Except for the prelude, which was played at the Concerts Colomnes in 1922, the work has not been performed. Mr. Rouché, director of the Paris Opera, will produce the work this season.
38Sunday Symphonic Society Program
40Sergei Radamsky, Russian tenor, was the assisting artist at the Sunday Symphonic Society's fourth free concert in the Hampden Theater, January 31. For this appearance he selected the Flower Song from Carmen.
42For the rest of the program, Josiah Zuro, conductor, played Vivaldi's concerto in a minor for strings, as arranged by Sam Franko, and Rimsky-Korsakoff's Scheherazade. The program was broadcast through stations WJZ and WGY. The same enthusiasm and crowded house greeted Mr. Zuro let me add that—He who throws pearls before swine should not blame the swine. (Signed) A. TEMPO. one of two readings
43For the rest of the program, Josiah Zuro, conductor, played Vivaldi's concerto in a minor for strings, as arranged by Sam Franko, and Rimsky-Korsakoff's Scheherazade. The program was broadcast through stations WJZ and WGY. The same enthusiasm and crowded house greeted Mr. Zuro one of two readings
45Don't Blame Them! one of two readings
47To the MUSICAL COURIER: one of two readings
49Referring to your article in the December 3 issue, permit me to say that your illustration of the man who could only swallow an oyster if it was entirely disguised by spicy condiments, puts the situation in a nut shell—or should I say an oyster shell? one of two readings
51But on opening the shell we find the question: Why waste so much sauce on an oyster? Musical taste, neither American nor Canadian, is always proven by commercial statistics, as it is a well known fact that classical taste very often accompanies a jazz purse. While preferring the very best music myself I have great sympathy for those whose taste is for the more popular variety, and I believe they are in the majority and deserve consideration. But let me add that—He who throws pearls before swine should not blame the swine. one of two readings
53(Signed) A. TEMPO. one of two readings
55(Quite right! Don't blame the swine. But if these are swine, they are wonderful swine, for they not only devour the pearls that are cast before them, but seem to thrive on the diet.—The Editor.)
57Children's Concerts in Europe
59To the MUSICAL COURIER:
61Some weeks ago Mr. Alexander Raab, in an interview in the MUSICAL COURIER, stated that there had been no children's concerts in Europe. This was refuted later by an Englishman who gave facts about children's concerts in England. I know for a certainty that the Berlin Philharmonic Orchestra arranged special children's concerts for the state day schools in the Berlin Philharmonic Hall. There were at least six every winter, with absolutely first class programs, big solo numbers, and the hall was always packed with children of all ages. So, you will see that there were children's concerts in Europe long before the late war.
63Yours truly,
64(no line here) one of two readings
66(Signed) NORAH DREWETT-DE KRESZ.
68MUSICAL COURIER READERS
70Don't Blame Them! one of two readings
72To the MUSICAL COURIER: one of two readings
74Referring to your article in the December 3 issue, permit me to say that your illustration of the man who could only swallow an oyster if it was entirely disguised by spicy condiments, puts the situation in a nut shell—or should I say an oyster shell? one of two readings
76But on opening the shell we find the question: Why waste so much sauce on an oyster? Musical taste, neither American nor Canadian, is always proven by commercial statistics, as it is a well known fact that classical taste very often accompanies a jazz purse. While preferring the very best music myself I have great sympathy for those whose taste is for the more popular variety, and I believe they are in the majority and deserve consideration. But one of two readings
77(no line here) one of two readings
79NEWS FLASHES
81McCormack Breaks Another Record
83Birmingham, Ala.—Just as last week John McCormack attracted the largest audience ever assembled in Washington, D. C., for a musical event, so on January 26 he broke all records here in his third appearance in this city. Over six thousand people gathered to tender him ovation after ovation, acclaiming his popularity and his consummate art. He was presented under the local management of Mrs. Orlene A. Shipman.
85L. M.
87Teiko Kiwa Hailed in Budapest
89Budapest.—Teiko Kiwa, Japanese soprano, appearing here as guest at the Municipal Opera in the title role of Puccini's Madame Butterfly, won a triumphant success from the audience of four thousand, including Regent Horty, which bought out the house to hear her. At the end of the opera there was a prolonged ovation and a crowd waited at the stage door, cheering the prima donna when she emerged, and escorting her to her hotel. Next day the press was just as enthusiastic as the public had been.
91B. A.
93Buhlig Wins Unusual Berlin Success
95Berlin.—Richard Buhlig, American pianist, gave a recital in the Beethovensaal on the evening of January 25 and was listened to by an audience which filled the hall and included the American Ambassador and Mrs. Schurman, besides many other distinguished persons from official and musical circles. Mr. Buhlig's playing of the program, made up of works of Schubert, Beethoven and Liszt, called forth demonstrations of approval from the very beginning, rising to wild enthusiasm before the close, when he was recalled time after time and compelled to add several extra numbers. It was another unqualified success for the American pianist, already well known and liked here. He will return to his native country next season for his first tour there in several years.
97T. C.
99and his splendid orchestra, which has assumed an important place in local music life. one of two readings
101(no line here) one of two readings
102Mellie Dunham Chooses Carl Fischer Cello
104Mellie Dunham went to Carl Fischer's the other day and selected a cello for one of his boys. While he was there he was shown the famous Carl Fischer collection of old string instruments and became interested in an ancient viola d'amour which he is shown playing in the above picture.
106He is pleased with the success of his composition Rippling Waves, Henry Ford's favorite melody, just published by Carl Fischer, Inc., and by the revival of interest in square dances. Following upon an animated discussion of old dance tunes Carl Fischer, Inc., decided to publish a collection which Mellie will get together. Among these he will include four of his own compositions—Rippling Waves, waltz (just published); Happy Hours, waltz; Norway Schottische and Haydn Schottische. The last three have never been in print, although Mellie has played them at many dances. He considers these old time dances of much value because they foster the community spirit of play.
108Silberta in Detroit
110Rhea Silberta was engaged for the special concert given by the Capitol Theater Symphony Orchestra of Detroit, on January 31. She was scheduled to play the Arensky concerto.
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