Scan 9
Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
75 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 10. See the scan on archive.org.
1MILAN HEARS CAVALIERI DI EKEBU FOR FIRST TIME AND LIKES IT
3Fine Performance Given at La Scala Under Toscanini—Carnival Season of Grand Opera Begins—Carcano Reopens
5MILAN.—At La Scala, on Thursday evening, December 24, occurred the first performance of Cavalieri di Ekebu; on Saturday evening, December 26, the first performance of Iris; Sunday matinee, December 27, a repetition of Faust, with Carlo Morelli as Valentine, his first appearance in this role at La Scala. His interpretation was a splendid one, he sang with much feeling and beauty of voice, and was well received, especially after the death scene. He was called several times before the curtain. Maestro Votto conducted in place of Toscanini.
7In the cast of Cavalieri di Ekebu, Franco Lo Giudici, as Giosta Berling, showed to much better advantage than in Cena delle Beffe. Maria Capuana portrayed the role of La Comandante creditably. Signorina Fanelli as Anna, displayed great improvement in her work over last season, both vocally and artistically; she sang the role with taste and feeling. Autori, as Sintram, sings well and gives an interesting portrayal. Franci as Cristano was in magnificent voice, and more than did justice to this difficult but ungrateful role; he repeated his splendid success of last season. The other roles were well cast, and all the artists sang their roles well and formed an artistic ensemble. The chorus was excellent. Toscanini's interpretation was marvelous, and one felt the same profound impression as last season, when this opera was given for the first time. The violin solo played in the wings by concertmaster Gino Nastrucci, formerly of the Metropolitan Opera, was full of feeling and artistic effect; he deserves great praise. A slight hitch in the electric effects occurred in the last scene of the third act. The stars all appeared suddenly, which spoiled the effect of the beautiful starlight night scene; also the rising of the sun at daybreak in the same scene left much to be desired. It is a pity this happened, as La Scala is most perfect in all details. Perhaps it was due to the fact that it was Christmas Eve. The working of the machinery in the last act was most impressive. The house was very small but enthusiastic.
9On Iris, Carlo Walter gave an excellent interpretation of the blind man. Rosetta Pampanini seems more at home in the role of Iris than in Madame Butterfly, both vocally and artistically; in the dramatic points she lacks force, especially in the second and third acts, especially for a house the size and standard of La Scala. However, the audience seemed to like her, and applauded at every opportunity. Pertile's portrayal of Osaka is well known and appreciated by patrons of La Scala; he was in excellent voice and gave his usual artistic interpretation of this role. Paci was an acceptable Kyoto; he is new for this role at La Scala. The balance of the cast were excellent, as was also the chorus which deserves great praise for its perfect work throughout the opera. As always, the La Scala Academy Chorus of Ladies, augmented the regular chorus behind the scenes in the glorious Hymn to the Sun of which Toscanini's interpretation excels all others, his reading of the score throughout was simply astonishing. The scenery, costumes, color, and stage effects are most beautiful. one of two readings
10On Iris, Carlo Walter gave an excellent interpretation of the blind man. Rosetta Panpanini seems more at home in the role of Iris than in Madame Butterfly, both vocally and artistically; in the dramatic points she lacks force, especially in the second and third acts, especially for a house the size and standard of La Scala. However, the audience seemed to like her, and applauded at every opportunity. Pertile's portrayal of Osaka is well known and appreciated by patrons of La Scala; he was in excellent voice and gave his usual artistic interpretation of this role. Paci was an acceptable Kyoto; he is new for this role at La Scala. The balance of the cast were excellent, as was also the chorus which deserves great praise for its perfect work throughout the opera. As always, the La Scala Academy Chorus of Ladies, augmented the regular chorus behind the scenes in the glorious Hymn to the Sun of which Toscanini's interpretation excels all others, his reading of the score throughout was simply astonishing. The scenery, costumes, color, and stage effects are most beautiful. one of two readings
12At Sunday evening's performance, it being the last which Arturo Toscanini will conduct for some time at La Scala, there were great demonstrations of applause, which forced him to appear many times at the footlights with the artists, after the performance. The stage and stage entrance were well filled with many close friends who gathered to wish the maestro a pleasant voyage (and a swift return) on his brief trip to America. He was in unusually good spirits and shook hands cordially with all. He said he felt sure that he was leaving the direction of the La Scala season in excellent and competent hands and that the patrons would suffer no loss through his brief absence.
14MUSSOLINI RECEIVES TOSCANINI
15From the opening of the La Scala season, November 15, to December 26, Maestro Toscanini rehearsed and staged eight operas, and during these forty-two days conducted twenty-five performances. On December 28, the day he left Milan, he was specially received during the morning by His Excellency, Prime Minister Mussolini, who was in Milan for the holidays. He expressed himself as very happy that the great maestro was to spread Italian art in a foreign country, and wished him a bon voyage and a safe return.
17THE CARCANO REOPENS
18The Teatro Carcano reopened its season December 22 with La Forza del Destino with Luisa Lucini, Costantino Petropolus, Claudio Frigerio, Filippo Romito, and Giuseppe Satriano in principal roles. Maestro Marcantoni conducted with vigor and understanding.
20THE GREAT OPERA SEASON BEGINS
21The Carnival season of grand opera, which opened on Saint Stephen's Day, December 26, in the most important royal and municipal opera houses of Italy, of which there are one of two readings
22The Carnival season of grand opera, which opened on Saint Stephen's Day, December 26, in the most important royal and municipal opera houses of Italy, of which there are a goodly number, opened with performances of the following operas and these leading artists and conductors. one of two readings
24A PLAN for Artist Concerts in YOUR City! one of two readings
25Known as the one of two readings
26"Civic Music Association Plan" one of two readings
27Now operating with Financial Success in over Seventy Cities one of two readings
28CIVIC CONCERT SERVICE (Inc.) one of two readings
29DEMA E. HARSHBARGER, Pres. and Gen'l Mgr. one of two readings
30Ward A. French, Vice-Pres. and Field Mgr. one of two readings
31Auditorium Tower Chicago, Ill. one of two readings
32Rome—Teatro Costanzi, Zandonai's Francesca da Rimini (See Rome letter published last week). one of two readings
33Turin—Teatro Regio, by Henri Rabaud, with Rosina Torri, Leone Ponzi, Quinci-Tapergi, and conductor Bavignoli. The second opera announced for this season is Manon Lescaut, in commemoration of Giacomo Puccini; this opera had its premiere at this same theater, February 1, 1893. In the cast will be Carmen Melis, Lauri Volpi and Ernesto Badini; conductor, Bavignoli. one of two readings
34Naples—Teatro San Carlo, Boito's Mefistofele, with Enzio Pinza, Rotondi, De Voltri; conductor, Gino Neri. one of two readings
35Genoa—Teatro Carlo Felice, Asrael by Franchetti, with Giuseppe Taccani, Alda Vane (American), Luisa Silva (American); conductor, Marinuzzi. one of two readings
36Venice—Royal Teatro Fenice, Wagner's Tannhäuser, with Frida Sanger, Amalia Bertola, Giuliano Brunet, Luigi Manfrini, Celestino Sarobe; conductor, Fabbroni. one of two readings
37Parma—Teatro Regio, Wagner's Tristan and Isolde, with Gina Dizarri, Irene Minghini-Cattaneo, Ernesto Lavarello, Enrico Vannuccini; conductor, Werner Wolff, from the Stadttheater, Hamburg. one of two readings
39At La Scala week, on Saturday evening, January 2, La Cena delle Beffe was given with Giuseppina Cobelli as Ginevra, replacing Carmen Melis. Miss Cobelli sang two performances as Sieglinde in Walkiria the first two weeks of the La Scala season; she was also cast for the role of Ginevra in Cena delle Beffe, but was taken with a serious attack of pneumonia, so Carmen Melis was called to sing that role. Miss Cobelli has now fully recovered and as Ginevra proved herself an artist of much temperament. She has a rich, fresh voice and colors her work with dramatic expression. She also has a lovely personality and was well received by the large audience. Maestro Santini conducted in place of Toscanini; his reading was interesting and much liked by the audience which called both artists and maestro repeatedly before the curtain.
41In the cast of the first Carmen of the season, New Year's Day, were Antonio Trantoul as Don Jose, Marcello Journet as Escamillo, Fernando Autori as Zuniga, Giuseppina Zinetti as Carmen, Cesaria Valobra as Micaela, Ester Guggeri as Frasquita, Gina Pedroni as Mercedes, Aristide Baracchi in the two roles, Morales and Don Cairo, and Giuseppe Nessi as Ramendado. The performance was good on the whole. Maestro Santini conducted; he was over-nervous, it being his first appearance at La Scala. During the first act his orchestra and artists were not always together, but by the time the curtain rose for the second act his extreme nervousness had passed and he proved himself to be a conductor of routine and ability. Chorus, scenery, costumes and lighting effects were above criticism.
43ANTONIO BASSI.
45Ethel Grow Gives Vocal Chamber Music in Scranton
46Ethel Grow gave her program of vocal chamber music assisted by the New York String Quartet, in Scranton, on January 19. The Scranton Republican calls it a "new form of music," which it certainly is to most hearers, and adds that "the novelty of the presentation lies in the addition of a soloist as the fifth voice in the ensemble, yet it is not vocal solo with string accompaniment; the voice is one of the component factors of the whole."
48That is very well expressed, and no less illuminative is the following from the same paper: "Miss Grow herself is responsible for these arrangements. An excellent musician, she has conceived a new vehicle in combining two great arts under the name of vocal chamber music, and provided another delicacy to an already rich literature."
50But ideas depend for their success upon their execution, and as to this the Scranton Republican speaks with no less enthusiasm of Miss Grow's offering: "Miss Grow," says this paper, "has a powerfully vibrant voice, a voice of character. Throughout its range there is no indication of a weak spot, and it is produced with the ease that begets sonority."
52Miss Grow has already given this program in New York and is repeating it this week.
54Hutcheson and Enesco in Chausson Concerto
55Patrons of the Boston Symphony will have the opportunity this season to hear Ernest Hutcheson and Georges Enesco in a performance of the Chausson concerto for piano, violin and orchestra. The work is scheduled for March 5. At the last Pittsfield Festival, Enesco and Harold Samuels played the work, but with double string quartet instead of full orchestra, and there is record of the Philadelphia Orchestra having performed the concerto once.
57Fitziu to Sing Her Own Song
58Anna Fitziu will appear in a new role when she sings as soloist with the Associated Glee Clubs of America on February 6 at the Seventy-first Regiment Armory. The soprano will reveal herself as an author of song texts, to one of which, I Know Death, as set to music by Charles Wakefield Cadman, she will give a first New York hearing on that occasion.
60KATHERINE PALMER
61A fine dramatic soprano is a bookable artist in any office because of her all-round-ness. Effective alike in opera or in oratorio—in recital or assisting a chorus.
63NEW YORK EVE. SUN
64She proved to be a singer of personal charm with a lovely voice and musical intelligence in no small degree. Miss Palmer will beyond doubt take a permanent place among the best American concert singers.
66CHICAGO EVE. POST
67Katherine Palmer disclosed engaging qualities of voice and style. She has a pleasing stage presence and her voice is high and clear. She brought out the texts clearly and with fine tonal shading.
69BOSTON HERALD
70Miss Palmer sang remarkably well, with a nice feeling for the shape of phrases and an understanding of their emotional content. She has grace and charm, a smooth legato, very clear pronunciation, to say nothing of an unusually good voice of truly dramatic quality. Miss Palmer sings well and intelligently.
72Exclusive Direction of
73CATHARINE A. BAMMAN
7450 West 46th Street, New York
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