Books › Musical Courier 1926-03-11: Vol 92 Iss 10, 1926 › scan 44
Scan 44
Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
104 lines. Read by computer on 29 September 2026. Printed page 45. 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.
1March 11, 1926
3SPECIAL MASTER CLASSES IN VOICE TECHNIQUE
4W. HENRI ZAY with a VERITABLE MASTER IDEA behind them. See "The Practical Psychology of Voice," put G. Schlesinger, which is a Complete Vocal Method. Studio: 80 West 72nd St. Phone 1467 Endicott
6DEANE DOSSSERT
7TEACHER OF SINGING
81204 Carnegie Hall Tel. Circle 0737
10ARTHUR J. HUBBARD
11VOCAL INSTRUCTOR
12Assistants { Vincent V. Hubbard
13{ Caroline Hooker
14SYMPHONY CHAMBERS, BOSTON
16Estelle LIEBLING
17Soprano
18Studio: 146 West 55th St., New York Tel.: 1787 Circle
20KATHERINE BELLAMANN
21Associate Teacher with ESTELLE LIEBLING
22Studio: 200 West 57th Street, New York. Phone Circle 3560
24MARCELLA GEON
25Pianist—Accompanist—Coach
2623 West 64th St., N. Y. Phone 1452 Trafalgar
28MARGARET LADLEY McBRIDE
29Voice Culture—Accompanist
30Studio: 45 Pinehurst Ave., N. Y. Phone Billings 9476
32MISCHAKOFF
33Concert Master of the New York Symphony Orchestra
34Violin Studio: 42 West 71st St. New York City
35Telephone Susquehanna 10455
37ETHEL WATSON
38VIRGINIA
39USHER LOS KAMP
40Coach and Concert Accompanist Teacher of Singing
41Phone: Susquehanna 3135 Studios: 127 West 78th St., N. Y.
43EDGAR STILLMAN-KELLEY
44STEINWAY HALL – NEW YORK, N. Y.
46WILHELM FLAM
47Vocal Studio: Berlin-Wilmersdorf
48Assmannshausenerstr. 11a.
49Present and past artist pupils include LEO SLEZAK, THEODOR SCHEIDL (Berlin Staatsoper), HELENE WILDBRUNN (Vienna Opera), LEO SCHUTZENDORF (Berlin Staatsoper), JOSEPH SCHWARZ, etc.
51SUMMER MUSIC SCHOOL
52Chicago, Ill., July 12th to 24th, Palmer House, State and Monroe Sts.
53New York City, August 2nd to 28th, 121 Madison Avenue.
54Courses for Teachers, in Pedagogy, Musicianship, Piano Playing, Sight Singing without "do-re-mi," "intervals," "numbers."
55Special Student Classes.
56Address
57EFFA ELLIS PERFIELD
58121 Madison Avenue (30th St.) New York City
59Phone Ashland 5551
61Information Bureau
62OF THE MUSICAL COURIER
63This department, which has been in successful operation for the past number of years, will continue to furnish information on all subjects of interest to our readers, free of charge.
64With the facilities at the disposal of the MUSICAL COURIER it is qualified to dispense information on all musical subjects, making it a valuable source of information.
65The MUSICAL COURIER will not, however, consent to act as intermediary between artists, managers and organizations. It will merely furnish facts.
66All communications should be addressed
67Information Bureau, Musical Courier
68437 Fifth Avenue, New York, N. Y.
70OSCAR SAENGER
71Studios:
726 East Eighty-first Street
73New York
74Consultations and voice trials by appointment only
75Tel. 8573 Butterfield
76L. Lilly, Sec'y
78MUSICAL COURIER
79TWO MORE NOVELTIES AT THE METROPOLITAN
80(Continued from page 5)
81politan. Unhampered by the necessity of action and with the score before her, she was able to devote her whole attention to singing. It is very difficult music, with many awkward intervals and difficult dramatic passages, but her intonation was true throughout. Her voice was heard to better advantage than ever before at the Metropolitan, and the upper registers seemed warmer. It was fancy work, suggesting occasionally Rimsy-Korsakoff in Coq d'Or, but she was quite equal to it. The musicianship was impeccable—and this opera score makes many demands. Beside her in the orchestra sat Ralph Errolle, who was the fisherman, and who sang the part excellently. On the stage there was comparatively little singing done, and what there was was almost entirely fragmentary. Didur was the Emperor of China and was fully equal to the opportunities offered him, singing and acting with taste and imagination. Ida Bourskaya stood out in a small character bit as the cook. Schuetzendorf and James Wolfe were satisfactory, respectively as the Chamberlain and the Bonze. The small parts were all acceptably done, Henriette Wakefield in particular making an effective figure and singing well what fell to her as Death. The principal interest, however, as far as the stage production went, was in the pictures. There was little for the chorus to do, except to group itself and look very gorgeous in its costumes, and that little it did effectively. Samuel Thewman had charge of the stage direction, which was more effective than most of his work.
83LA VIDA BREVE
84De Falla's La Vida Breve is something else again. Just why the Metropolitan should have elected to put on this fifteen-year-old work of a composer, who, although he has decidedly improved in the intervening years, is today a man of no special importance, is not readily understood. The most interesting thing about the production was the scenery. The second scene, a "symphonic intermezzo," with the chorus singing typical Spanish music behind the scenes, was a gorgeous picture of the Alhambra, with the lighting passing from late afternoon through sunset to full moonlight. This was the most effective part of the work. The plot is scarcely enough to furnish a twenty-minute sketch.
86Salud, the gypsy girl, passionately loves Paco, a well-to-do young man about town in Granada. He dallies with her, but proceeds to betroth himself to a rich girl in the city, Carmela. Salud comes to the betrothal festival, reproaches Paco, and falls dead at his feet. The only other characters are the old grandmother, who tells Salud to look out or she will get her fingers burnt, and her uncle Sarvaor, who wants to revenge himself on Paco, but is not allowed to.
88MUSIC UNDRAMATIC
89The music is well made but is undramatic on the whole, and conventional. In the first act there is very much Spanish Gounod. In the second act the pleasantest bit is the ballet, though the music is of the conventional Spanish type, and, done rather slowly as it was by Mr. Serafin, it failed to arouse much excitement or interest. The whole thing in fact is hopelessly out of date from the musical standpoint. The performance was excellent. The one really important part is that of Salud. Miss Bori, singing in her native language, was a beautiful figure, and sang with even more warmth than usual. The portrayal of the unfortunate heroine was one to arouse the heartiest sympathy; in fact what success the opera had was 90% due to her. The others are for the most part mere figures. Armand Tokatyan had the tenor role. Kathleen Howard gave one of her characteristic grandmother parts. Louis D'Angelo made as much as possible out of Uncle Sarvaor, and Merle Alcock looked very well and sang the bit that fell to her with finish as Carmela. The scenic pictures, particularly that of the Alhambra already referred to, and the first scene of the second act, were some of Urban's best. This scene in the second act calls for the courtyard, where the betrothal party is taking place, to be seen through a huge iron fence and gateway. The stage manager had the dances, which were supposed to be danced for the benefit of the guests inside the courtyard, performed with the dancers facing the audience, backs to the guests, romping about behind the palings of the great fence, and suggested animals in the Zoo on a jolly afternoon.
91La Vida Breve was received with no particular enthusiasm. The heartiest applause of the afternoon was owing to the personal success of Miss Bori, who well deserved it. There was more applause after Le Rossignol. Most of this appeared to be aimed at Miss Talley, who was finally called out once or twice alone.
93Yvonne D'Arle in Philadelphia
94Yvonne d'Arle was heard in recital on January 28 at the Academy of Music in Philadelphia. The Philadelphia Ledger wrote that "Yvonne d'Arle, Metropolitan soprano, shares honors in unusually fine program. Miss d'Arle, although described as a lyric soprano, seems to lean more towards the dramatic. She sang very beautifully the aria from the third act of Leoncavallo's Zaza and Mimi's Farewell from Boheme. Her voice is of fine quality, added to which she has an unusually attractive stage presence, and sings with excellent artistry." The Philadelphia Evening Bulletin wrote: "An ovation was given to Miss Yvonne d'Arle, both before and after her performance. Miss d'Arle has a delightful personality, which adds greatly to her beautiful and artistic singing." The following week Miss d'Arle gave a recital for the Boston Athletic Association, assisted by the Vanini Symphony Orchestra, and scored a most successful criticism. Miss d'Arle will be heard in Boston again during the season.
96Busy March for Hart House String Quartet
97One of the busiest organizations is the Hart House String Quartet. A glance over the dates for March will show the great popularity of this splendid organization: March 1, Sudbury; 2, Winnipeg; 3, Brandon; 4, Regina; 5, Saskatoon, 6; Saskatoon (radio); 8, Calgary; 9, Edmonton; 10, Edmonton (radio); 11, Calgary (radio); 12, Lethbridge; 15, Medicine Hat; 16, Swift Current; 17, Winnipeg (return date); 18, Winnipeg (radio); 20, Port Arthur; 22, Iroquois Falls; 23, Timmins; 26, Upper Canada College, Toronto, and 29, Hart House Theatre, also Toronto.
99Not Only The Finest and Greatest Piano in the United States
101STEINWAY
103But The Finest and Greatest Piano in the World
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