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Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
97 lines. Read by computer on 29 September 2026. Printed page 7. 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
3MUSICAL COURIER
5Ruined Voices
6By Clarence Lucas
8Was a voice ever ruined by bad training? No doubt there is good training and bad training, but I am not yet convinced that an ordinary vocal teacher can so utterly ruin a voice that no other teacher can put it right. I think it may be put off the right track, so to speak, and the delay in getting put on the right track may possibly be serious if the pupil is getting old and set in his ways. But the vocal cords which make the sounds—or are generally supposed to make the sounds—are not affected by the way the breath is managed and the tone is controlled after it is made. If the vocal cords were ruined, the victim of the bad training could not speak. If the pupil feels that his throat is sore after singing, his common sense tells him that something is wrong. He may have a bad cold which causes his vocal cords to be inflamed and thick. No vocal teacher I ever heard of asks the pupil to sing in such a condition. This method is not employed in ruining voices. The genuine voice breaker—so-called—is the teacher who talks about the soft palate or the hard palate, who insists on a loose tongue or a stiff tongue depressed at the base, who directs the pupil to press from the diaphragm or leave the breath entirely alone, in other words, who pays no attention to the vocal cords.
10Are the vocal cords under control? If they are not to be influenced by any nerve or muscle controlled by the pupil, how can any kind of singing method have any kind of effect on them? In one of my former articles I told about the vocal teacher in London who had so cultivated the muscles of the diaphragm that he could push a grand piano across his studio by moving his stomach in and out. What had that to do with the vocal cords? Nothing. He was a lion on stomach and a lamb on voice. The muscles of a canary bird sufficed to make a bigger tone. Another teacher believed and taught and argued and insisted that the voice was managed by the muscles of the back. The cavernous tone he produced somewhere in the vault of his skull may have been the real reason why hair refused to remain on the outside of the aforesaid vault. I heard a gentleman of color on the stage of a music hall relate that he fell down and broke his voice and was compelled to sing pieces ever since.
12The serious vocal student may well feel disappointed when he reads the foolishness of the preceding paragraph. But, Sir Vocal Student, may I ask you why you talk such nonsense in accusing your last teacher of ruining your voice? Was your divine musical organ of such ethereal and poetical substance that the method of a vocal teacher could make it dissolve into thin air, like the cloud-capped palaces of Shakespeare's Tempest? Honestly now, man to man, did you have a musical voice in the beginning? Of course you thought you had. In your day dreams you saw the mantle of the late lamented Caruso suspended in mid air, ready and eager to fall on your shoulders. You imagined Chaliapin turning pale at the reports of your success—with failing knees staggering like Belshazzar when Daniel warned him about his light weight in the balances.
14And you, Lady Lyrical Soprano, who broke your lovely voice? For of course, you had a lovely voice. That goes without saying. When you were nine years old your mother discovered your really remarkable talents—or gifts, as she called them. One of your aunts had heard Patti and Clara Butt and was sure your voice was just as good, if not better in some ways. But, alas—the old story—you got into the hands of a teacher who could not understand your exceptional organ. He had spent his life training men, women and children of ordinary caliber. How could he be expected to understand the fine fibers of a Patti or a Clara Butt? Naturally, the inevitable result happened. Your voice was ruined. From the age of twelve onwards it got steadily worse—thanks to the incompetent teacher who wrecked it, like a great ocean liner on the rocks.
16You would give anything—meaning all—to the teacher who could unruin it and undo the mischief the unworthy teacher unwittingly wrought on your unsuspecting innocence.
18Therefore you write to the MUSICAL COURIER to ask if it is too late? You are already tottering under the weight of twenty-three years and your life has been blasted with a ruined voice. Cheer up! There is still hope. You may yet live to be a singer—if not the only soprano of importance at the Metropolitan Opera House, at least worthy to sing in choir and become a highly respected member of the community, provided, of course, that you have a natural voice which was born in your throat. Otherwise I am afraid you will remain one of those voiceless vocalists whom every teacher in the land has been accused of ruining.
20Oldest Opera Star Praises Youngest
22Interviewed after her "second debut" at the Metropolitan recently, Ernestine Schumann-Heink was warm in her praise of the young star, Marion Talley, who made her first appearance on the same stage the week before. "She is a wonder," said Mme. Schumann-Heink, "and a great deal of her success is due to her lack of nerves. Her coloratura is perfect, and age and experience will remedy any emotional lack. Of course she is not too young to make her debut. I made mine when I was fifteen, and I am now celebrating my fiftieth year before the public. My welcome at the opera was as big a thrill to me as Miss Talley's must have been to her, and I hope she will be able to hold the hearts of her audiences as long as I have. It is a wonderful thing for a young American girl to be so well received in her own country, and Miss Talley certainly deserves all the praise she has received."
24Mme. Schumann-Heink is planning a two year Golden Jubilee Tour under the direction of George Engles, but she does not promise that this will be her final farewell. She still has her glorious voice and her radiant energy, and is in perfect health, but it is likely that after 1928 she will feel that she has given the American public all that can be expected of her, and will be glad to retire to the domestic life of which she is so fond.
26Haddon Hall Musicales Begin
28The first concert in the fourth annual series of the Vernon Room March Musicales was given before a large and distinguished audience in Haddon Hall, Atlantic City, N. J., on February 27. The well arranged and interesting program was presented by Mischa Levitzki, pianist; Leonora Sparkes, soprano, and Royal Dadmun, baritone. Mr. Levitzki, as is usual with him, held the interest of his audience from his first to last number. For his first group he played Chopin, a composer whose works he interprets especially well, bringing out the many beauties of the music in an artistic manner. His playing is colorful and he has a wide command of dynamics. In addition to appearing as pianist, Mr. Levitzki also was enjoyed in the capacity of composer. He presented his own Valse in A major, Op. 2, and Valse de Concert, Op. 1. This group also included Tchaikowsky's Troika en Traineaux, and a Liszt rhapsody. Of course the pianist was compelled to give a number of encores.
30Leonora Sparkes was heard in operatic arias and songs, in all of which she was enthusiastically received. She is a well known singer, and again gave pleasure with her sincere interpretations and her beautiful large and expressive voice. Royal Dadmun selected his numbers from Handel, Liszt, Grieg, Koennemann, Rachmaninoff and Moussorgsky. Mr. Dadmun was in fine voice. He knows how to use his beautiful organ with great effect, and thoroughly understands the musical significance of the various numbers he interprets. All three artists were given rounds of applause by the audience, and this first of the series of concerts proved an auspicious beginning for the remaining attractions in the course.
32Guild of Vocal Teachers Give Dinner
34The first of a series of monthly dinners given by the Guild of Vocal Teachers was held on February 26 in the San Remo Hotel, New York. While the Guild is composed of women teachers of voice, the social occasions are always attended by many men of prominence in the musical world. The honor guests were Dr. Henry Fleck of Hunter College, who gave an interesting address, and John Palmer, whose songs and impersonations were a refreshing element in the evening's program. The permanent committee for the dinners include Hildegard Hoffman Huss and Lillian Miller Hemstreet. Mme. Anna Zeigler, president of the Guild, introduced the guests.
36FOREIGN NEWS IN BRIEF
38reached an agreement with the Staatsoper whereby the performances of the Vienna Opera will be broadcast, beginning in March. The contract calls for two performances a week.
40P. B.
42ROSENKAVALIER BREAKS VIENNESE RECORDS—(Vienna.) February 13 marked the one hundred and fiftieth performance at the Staatsoper of Der Rosenkavalier. The première occurred on April 8, 1911, and one hundred and fifty is the highest number of performances ever reached in Vienna by a new work within fifteen years. Incidentally it was Richard Mayr's one hundredth appearance here in his famous role of Baron Ochs, and the farewell appearance of Marie Gutheil-Schoder as Octavian, at the Staatsoper, of which she has been an important member for twenty-six years. Richard Strauss, although in town, did not interest himself in the jubilee performance, and was conspicuous by his absence, although the management of the Staatsoper had especially invited him to attend.
44P. B.
46BATTISTINI TO RETIRE—(Vienna.) In a letter to a Viennese friend, Mattia Battistini, the famous "grand old man" of Italian opera, states his firm resolve to retire from the operatic and concert stage this spring. His forthcoming Viennese concerts, he says, will mark his farewell to the international public. Incidentally Battistini reveals what he says is his real age: sixty-nine years and a "few" months.
48P. B.
50VIENNA TO HEAR PUCCINI'S TURANDOT—(Vienna.) Director Franz Schalk, of the Staatsoper, is at present in Milan, where he has just closed a contract for the production of Puccini's Turandot in Vienna. He has promised to bring it out before the end of the current season.
52P. B.
54D'ALBERT'S NEW OPERA A DEPARTURE—(Vienna.) Eugen d'Albert's new opera, Der Golem, has been acquired by the Frankfort Opera and will have its première there next fall. The book, by F. Lion, is unique, according to d'Albert's statement; it deals with the old Jewish legend of the Golem, a mystic being which is unearthed and brought to life through love. The Golem, Rabbi Löw and his daughter, Leah, are the leading characters of the opera which culminates in the destruction of the city of Prague by fire. D'Albert describes the book as "mystico-symbolic" and his music as a departure and far removed from the "verismo" of his earlier operas.
56P. B.
58A CHILDREN'S OPERA AT VIENNA—(Vienna.) When the famous concerts of the one-time Court Chapel were discontinued two years ago (they are soon to be resumed again), an enterprising clergyman named Schnitt formed an opera company out of the choir boys. Last year the newly founded Children's Opera gave twenty-three sold-out performances of Mozart's Bastien and Bastienne. This year the enterprise is conducted on a larger scale, in the Redouten Saal (the Staatsoper's branch playhouse), and the première of Haydn's The Apothecary was a huge artistic and financial success.
60P. B.
62MANAGERS ARE DYING OUT!—(Vienna.) The Carl Theater is the latest of the Viennese playhouses to become a "communist" theater: a playhouse conducted on the sole responsibility of the members and without financial backing. The manager having gone definitely bankrupt, the members have adopted this method which is doing excellent service already at the Volksoper and in several other theaters. All but two Viennese managers (not counting the state playhouses) have announced their intention to withdraw from business next season and have given six months' notice to their members. It is intended to conduct all these houses on a sharing basis next season. Theatrical managers are dying out!
64P. B.
66Amsterdam
68CAPET QUARTET FLAWLESS—(Amsterdam.) The Capet Quartet has given its famous Beethoven cycle consisting of all the string quartets played in six concerts. The Capets' flawless playing brought forth considerable enthusiasm. Bronislaw Huberman recently played the Tchaikowsky concerto with the orchestra and captured his audience with his brilliant technic and ardent temperament.
70K. S.
72Italy
74TOSCANINI TO CONDUCT VERDI FESTIVAL—(Milan.) There is to be a Verdi festival in Busseto, the composer's birthplace, in September. Toscanini will conduct two of the composer's operas, probably Falstaff and an earlier work—either Traviata or Trovatore.
76G. G.
78FLETA TO CREATE TENOR ROLE IN TURANDOT—(Milan.) Miguel Fleta has been chosen to create the tenor role in Turandot. The première, under Toscanini, will take place about the end of March, when Rosa Raisa arrives from America, the official date to be announced when Toscanini returns.
80A. B.
82CELEBRATING ST. FRANCIS AT ASSISI—(Rome.) In connection with the celebration of the anniversary of St. Francis of Assisi in the little town of Assisi some big festival concerts of a sacred nature will be held.
84D. P.
86Miscellaneous
88WHITHORNE WORK HEARD IN ENGLAND—(Birmingham) The City of Birmingham Orchestra gave the first English performance of Emerson Whithorne's short orchestral piece The Aeroplane, on January 31, at one of its Sunday evening concerts. Adrian Boult, who conducted, did all that could be done with the score. Although such highly colored music is the exact opposite of the music of our modern English school, the little work was not altogether unpopular with the audience and there were some cries of encore at the end. For most listeners, however, Mr. Whithorne's music was too realistic to be thought a complete success.
90G. W.
92BRUSSELS OPERA REVIVES GWENDOLYN—(Brussels.) John Charles Thomas, American baritone, had a marked success in a revival of Chabrier's opera, Gwendolyn, at the Monnaie. Greatly diversified as was his interpretation of the rôle, his vocal execution of it was nothing short of brilliant. However, this discreet and distinguished interpreter of Amfortas in Parsifal must guard against the danger of forcing his voice, and stressing the purely vocal element. The permanent impression which he will leave here will be measured by the taste which he displays and the equilibrium which he maintains between his vocal and his histrionic art.
94A few days after the Paris Opéra Comique, the Monnaie of Brussels has given the first presentation of Maurice Ravel's latest opera, L'Enfant et les Sortilèges. It was a frank and complete success, equally earned by the work and the production which was given it by our operatic forces, which was both musically and scenically excellent.
96A. G.
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