Scan 4
Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
40 lines. Read by computer on 29 September 2026. No printed page number was found. 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.
1COMIC OPERA AT THE METROPOLITAN MAKES A HIT
2Revival of Die Verkaufte Braut Arouses Great Enthusiasm—Cast "Made to Order"—Plenty of Fine Singing, Splendid Acting and Hearty Laughs
4The best comic opera on Broadway today, from the standpoint of singing and acting (and there's a lot to be said for the dancing, too) came to the Metropolitan Opera on Thursday evening, January 28. The name of it, in the splendid German translation by Max Kalbeck in which it is sung, is Die Verkaufte Braut. That is, in English, The Bartered Bride (not The Battered Bride, as a careless proof-reader once let it run); and what it is in its native Czech-only Czechs know. The music was written by Friedrich Smetana and it is sixty years old, having first been produced at Prague in 1866. Imagine a comic opera sixty years old sounding just as fresh and charming as ever! Of course, the book shows the signs of age most, as comic opera books always do, but it never was very important anyway. The story, which has to do with the familiar tale of a young woman who does not want to marry the man her parents have selected and finally succeeds in getting the man she wants, never was very strong. But the Smetana music, simple as it is, melodically and harmonically speaking, is so fresh and delightful that it charms today as much as ever. Also it illustrates the value of folk song material, for the composer, when not employing actual folk themes, as he did occasionally, built his tunes in a manner suggesting folk music. The orchestration is delightful, and it must be said that Artur Bodanzky, conducting, did not overlook a single effect in the score, which was beautifully played by the orchestra.
6The casting was a work of art. The various principals fitted their parts as if born to them. First of all Michael Bohmen comes in for mention. He not only sang splendidly as Kezal, the enterprising marriage broker, but also proved himself a comedian of the first rank. Roars of laughter greeted his speeches and his acting throughout the evening. His make-up was as funny as his whole characterization. And another surprising comedian turned up, too. George Meader, a valued member of the company for years in such roles as David and Mime, had the part of Wenzel, the simpleton fiancé, and was as funny as Bohmen, which is saying a lot. It was the best chance he has ever had at the Metropolitan and he took full advantage of it. His stammering utterance throughout the singing of the role was capitally (and musically) done and his gawkiness was mirth compelling.
8In the "straight" roles, Rudolf Laubenthal as Hans stood out particularly. To him fall some lovely lyric tunes, and he sang them delightfully, besides which he looks the youthful hero, who finally gets the girl, to the life. He acted with restraint and understanding. Maria Mueller, as the heroine, Marie, left little to be desired. She sang charmingly. In her acting there are occasional awkward gestures, but this disturbs the general picture very little. Little Louise Hunter made a great hit in the last act with her vivacious dancing and singing as Esmeralda, the slack wire dancer of the circus troupe, and Max Bloch was laughable as the impresario of this troupe. Marion Telva's beautiful voice showed to great advantage in the role of Kathinka, especially in the beautiful sextet, "Wart' ein Weichen, Marie." Carl Schlegel, Phradie Wells and Arnold Gabor had smaller roles. The chorus, which had a great deal to do, did it splendidly throughout, thanks to the training of chorus master Setti. Bodanzky and his men gave an exacting performance of the exciting and favorite overture before the second act. The Metropolitan orchestra has improved greatly since the beginning of the season. Von Wymetal had the stage direction, which was good in the whole, though it seemed as if more might have been made of the bear episode of the last act. The scenery was at its best in the tavern interior of the second act. The village square of the first and third acts was rather old-fashioned in architecture and coloring for modern scenic standards.
10There are dances in every act. Those of the first and second acts, arranged by August Berger, though well executed, were rather conventional in pattern; the antics of the circus dancers of the last act, arranged by Ottokar Bartik, were decidedly amusing.
12The opera has not been seen at the Metropolitan since 1912. Gustave Mahler revived it there in February, 1909, and it made a decided hit, with Emmy Destinn, Carl Joern, Albert Reiss, and Adamo Didur in the leading roles, though the cast of the revival, with the possible exception of Destinn, did not come up to the present cast. At that production the dances made a special hit. Ottokar Bartik, himself a Czech and then an independent dancing teacher here, was engaged to stage them, which he did with a bevy of genuine Czech (Bohemian, it was in those days) lads and lassies from the local colony, and their success won him an engagement at the Metropolitan which still exists.
14The audience thoroughly enjoyed itself last Thursday evening. It was very keen at following the doings on the stage and every comic bit brought an outburst of laughter—evidently there were hundreds present who knew German. Further, a rare thing at a performance of German opera, the performance was regularly interrupted at the close of each effective scene by an outburst of applause, and at the end of each act there were many recalls.
16METROPOLITAN AUDIENCE ENJOYS ANOTHER THRILL
17Mary Lewis Makes Her Debut, in Boheme, and Almost "Stops the Show"—Broadway Turns Out En Masse to Hear and See Former Follies Girl—Bouquets Hurlcd Upon Stage and Audience Breaks Old-Time Custom With Its Applause
19Something happened at the Metropolitan Opera last Thursday afternoon, January 28, from which a good many people got a real thrill—including the rather case-hardened writer of this review. Mary Lewis, much heralded, made her debut; and Mary Lewis made good. Emphatically so! The opera was La Boheme, and Miss Lewis was the consumptive heroine, looking, it must be admitted, anything but consumptive. What a relief it was to see again at the Metropolitan after many, many years, a young, lovely Mimi, with charm and grace, one who gave Rodolfo a perfectly good excuse for falling in love. Miss Lewis has a pure, clear, lyric soprano voice of warmth and unusual beauty. It is not yet as strong in the lower register as it should be in a house as large as the Metropolitan, but the middle and upper registers are quite ample and of lovely quality. She sings well, not only from the vocal standpoint, but from the standpoint of the musician as well. There was real intelligence and understanding in her work. She acted Mimi with charming grace and simplicity. One believed in her. Best of all she has that indefinable something which is called personality. She "gets over" the footlights, and awakes a warm sympathy and interest in the listener. Miss Lewis has within her the possibilities of a Farrar or a Garden. Whether or not she can go on to win their fame remains to be seen, but the chance is there, for she has that peculiar something that differentiates her from dozens of young artists whose vocal resources are perhaps equal to her own.
21It may have been the intention of the management to give Miss Lewis every chance to shine by contrast with the balance of the cast, which was notably poor, with the honorable exception of Edward Johnson, the Rodolfo, who gave out all his fine art of singing and acting into helping the debutante. It was a splendid performance on his part. But the rest of the cast! Scotti, amusing as ever, but with nothing left of his voice except its quantity; Rothier, as Colline, funny as the proverbial crutch; Picco, quite negligible as Schaunard; and the newcomer, Franklin Kandt, the least interesting and the dowdiest looking Musetta in many a year. Also Signor Papi slept peacefully through the afternoon in the orchestra pit. Such dragged-out tempos, such entire neglect of accents!
23The house was sold out—and that without subscription. It was an unusual audience for the Metropolitan. Everybody on Broadway from Laurette Taylor down to the chorus girls from the Vagabond King en masse, was there, to welcome this Mary Lewis who, four or five years ago, was one of Mr. Ziegfeld's American glories in The Follies. They applauded at every opportunity, and there were many. Time after time Miss Lewis took curtain calls, with her fellow artists or alone. Among the audience was an entire corps of professional and semi-professional baseball pitchers, to judge by the accuracy with which innumerable bouquets of violets were hurled onto the stage. Outwardly it was a tremendous success, and, as a matter of fact, the debutante thoroughly deserved the encouragement and praise she received. It will be exceedingly interesting to watch her development.
25And now that one American girl has done so well, Marion Tally will doubtless make that long awaited debut.
27FLORENCE WARE,
28who was associate teacher with William Thorner for a number of years and is now successfully teaching in her own studio. Among the artists who coached with Miss Ware, when she was connected with the Thorner studios, was Mary Lewis, who made such a successful debut as Mimi in Boheme with the Metropolitan Opera Company on Thursday last. Miss Ware's studio is one of the busiest in the city.
30FOREIGN NEWS IN BRIEF
32forms Vol. III of Prof. Braudo's History of Music, which is the most widely circulated publication of its kind in Russia. Prof. Braudo is the MUSICAL COURIER'S Moscow correspondent. C. S.
34Berlin
35WEBER CENTENARY FESTIVAL.—(Berlin) On the occasion of the centenary of Carl Maria von Weber's death, June 5, 1926, there will be a great Weber Festival at Eutin (Mecklenburg), his native town. An open-air performance of Preziosa in the Castle gardens, the singing of his Mass in the principal church, and of the cantata Kampf und Sieg will be the unusual features of the celebration, lasting from June 5-15. There will also be an arts and crafts exhibition and a number of concerts and other public events. T.
37BUSONI'S FAUST FOR BERLIN.—(Berlin) The Staatsoper announces the production of Boris Godounov (never given in this theater before) for February, also a new mounting of Rienzi in March, of Parsifal in April, and the premiere of Bernhard Schuster's opera, Der Dieb des Glücks, for May. Complete Wagner and Mozart cycles (the latter beginning with Don Giovanni) are also scheduled. Another important production in the spring will be that of Ferruccio Busoni's posthumous opera, Faust, which had a fine reception in Dresden last fall. Generalmusik-direktor Erich Kleiber will conduct and Michael Bohmen will sing the title role. C. H. T.
39BERLIN OPERA PRICES DOWN.—(Berlin) Following the lead of Berlin's private theaters, some of which have reduced their admission prices by a third, the state theaters, which include the two opera houses and two playhouses, have done likewise. Beginning with January 12, all classes of seats underwent a twenty-five percent reduction. This has been done in the hope that it will raise the attendance. Should the receipts fall, however, the old prices will be restored. C. H. T.
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