Books › Musical Courier 1926-04-22: Vol 92 Iss 16, 1926 › scan 12
Scan 12
Musical Courier 1926-04-22: Vol 92 Iss 16, 1926
41 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1April 22, 1926
3National Opera Club Welcomes Von Klenner
4Amy Ray Seward, chairman of the day, was in charge of the April 15 Welcome Home affair, of the National Opera Club, given at the Waldorf-Astoria, to the founder and president, Baroness Katherine Evans Von Klenner. Following the storm of applause and rising of the audience to welcome her taking the platform, Mme. Von Klenner launched into a brief résumé of her world tour, saying she had "travelled on wings of love and was delighted to hear from New York that the National Opera Club was carrying on faultlessly. Now a dozen years old, the organization had now found its second breath." She visited four continents, and wherever and whenever possible talked about the National Opera Club, which, she found, was known. January 6 she gave a dinner to seventy people, and sixty-six joined and paid their dues; a N. O. C. Club choral was formed, and a general agenda for the club ensued. In Milan, Selma Segal, a N. O. C. protégé, made her appearance in opera; there she met Leila Troland Gardner and Ruth Bliss, and saw Florence Mulford-Hunt and Mrs. Pauline MacArthur, all members, in Paris. At the close she made a plea to sustain American composers, and, throughout her address, opera in English, American composers, opportunities in this land, all were stressed by her, with many a pointed, witty, or eloquent remark. She said that she is talking in Syracuse, April 22, and in Cincinnati, April 29, on opera. There followed violin solos, well played by Paul Barnard; soprano arias by Charpentier and Cadman, sung with much finish by Yvonne deTreville, with clear high C's and temperamental delivery; an address by Charles Henry Meltzer, who aimed many hits at the Metropolitan Opera regime, as well as at the Juilliard Foundation, he also making a plea that all opera should be sung in the native idiom; a contralto aria, La Mort de Jeanne d'Arc, sung by Ida Geer Weller, which was simply fine; soprano arias by Verdi and Wagner, dramatically sung by Christina de Santi; baritone arias sung by Maxime Borisoff; and the MacDowell Choral of Mountain Lakes, directed by Gena Branscombe, in her own Dancer of Fjarda, Mabel Turner and Bessie W. Ives singing the incidental solos. Accompanists of the day were Rose Bernard, Margaret L. MacBride, Ruth J. Hall, Pirro Paci and Mrs. Janssen. Guests of honor included: Baroness Katharine Evans von Klenner, Mr. and Mrs. F. Harling, Lillian Blauvelt, Alexander Savine, Gena Branscombe, Mr. and Mrs. H. H. Huss, Mr. and Mrs. H. Milligan, Mme. Carlo Polifeme, Josiah Zuro, Charles Henry Meltzer, Florence Turner Maley, Alfred Human, Edyth Totten Fanning, James P. Dunn, Countess J. F. de Castelvecchio, Pierre Rochehoire, Harriet Holt Dey, Amy Wren, C. Dugas, Noel Strauss, Betty Gnad, Vincenzo Miserendino, Flora Knapp Dickinson, Fred W. Riesberg, Eva Phinps, Imogene King, Laura Sedgwick Collins, Mabelle Sayle, Etta Hamilton Morris, Mme. Anna Ziegler, board of directors of Women's Press Club of New York, and the board of directors of the National Opera Club of America. one of two readings
5Amy Ray Seward, chairman of the day, was in charge of the April 15 Welcome Home affair, of the National Opera Club, given at the Waldorf-Astoria, to the founder and president, Baroness Katherine Evans Von Klenner. Following the storm of applause and rising of the audience to welcome her taking the platform, Mme. Von Klenner launched into a brief résumé of her world tour, saying she had "travelled on wings of love and was delighted to hear from New York that the National Opera Club was carrying on faultlessly. Now a dozen years old, the organization had now found its second breath." She visited four continents, and wherever and whenever possible talked about the National Opera Club, which, she found, was known. January 6 she gave a dinner to seventy people, and sixty-six joined and paid their dues; a N. O. C. Club choral was formed, and a general agenda for the club ensued. In Milan, Selma Segal, a N. O. C. protégé, made her appearance in opera; there she met Leila Troland Gardner and Ruth Bliss, and saw Florence Mulford-Hunt and Mrs. Pauline MacArthur, all members, in Paris. At the close she made a plea to sustain American composers, and, throughout her address, opera in English, American composers, opportunities in this land, all were stressed by her, with many a pointed, witty, or eloquent remark. She said that she is talking in Syracuse, April 22, and in Cincinnati, April 29, on opera. There followed violin solos, well played by Paul Barnard; soprano arias by Charpentier and Cadman, sung with much finish by Yvonne deTreville, with clear high C's and temperamental delivery; an address by Charles Henry Meltzer, who aimed many hits at the Metropolitan Opera regime, as well as at the Juilliard Foundation, he also making a plea that all opera should be sung in the native idiom; a contralto aria, La Mort de Jeanne d'Arc, sung by Ida Geer Weller, which was simply fine; soprano arias by Verdi and Wagner, dramatically sung by Christina de Santi; baritone arias sung by Maxime Borisoff; and the MacDowell Choral of Mountain Lakes, directed by Gena Branscombe, in her own Dancer of Fjaard, Mabel Turner and Bessie W. Ives singing the incidental solos. Accompanists of the day were Rose Bernard, Margaret L. MacBride, Ruth J. Hall, Pirro Paci and Mrs. Janssen. Guests of honor included: Baroness Katharine Evans von Klenner, Mr. and Mrs. F. Harling, Lillian Blauvelt, Alexander Savine, Gena Branscombe, Mr. and Mrs. H. H. Huss, Mr. and Mrs. H. Milligan, Mme. Carlo Polifeme, Josiah Zuro, Charles Henry Meltzer, Florence Turner Maley, Alfred Human, Edyth Totten Fanning, James P. Dunn, Countess J. F. de Castelvecchio, Pierre Rochehoire, Harriet Holt Dey, Amy Wren, C. Dugas, Noel Strauss, Betty Gnad, Vincenzo Miserendino, Flora Knapp Dickinson, Fred W. Riesberg, Eva Phinps, Imogene King, Laura Sedgwick Collins, Mabelle Sayle, Etta Hamilton Morris, Mme. Anna Ziegler, board of directors of Women's Press Club of New York, and the board of directors of the National Opera Club of America. one of two readings
7Caselotti's Success in Los Angeles
8Guido Caselotti, who since July last has made his home in Los Angeles, Cal., is meeting with enormous success, and his class is as numerous as the one he has held in New York and Bridgeport for the past twenty years.
9His first costume recitals given recently in Los Angeles and Long Beach met with instantaneous success, and several of his pupils derived engagements through his teaching.
10His daughter and pupil, Marie Louise, whose well developed mezzo-soprano is greatly admired, has made a name in the musical field appearing in numerous recitals and culminating as the only soloist with John McCormack before 15,000 enthusiastic music lovers in the Olympic Auditorium in a mammoth benefit for the Catholic Seminary fund on February 28, when Bishop Cantwell of Los Angeles and Archbishop Hanna of San Francisco presided.
11Flattering reports from the Roman press reached this side of the ocean of Mme. Maria Caselotti's success in five performances as Violetta in La Traviata at the Teatro Castanzi in Rome, where her work was called unsurpassable. She recently was the guest of honor at the Politeama Garibaldi in Palermo in Traviata and Lucia.
12Mme. Caselotti has received her entire vocal and musical training from her husband, Guido Caselotti.
14SUMMER MASTER SCHOOL
15June 28 to August 7 (Six Weeks)
16School for the Training of
17THEATRE ORGANISTS
18Direction of CHARLES H. DEMOREST, Famous Theatre Organist, Musician and Teacher
19Students have lessons and practice before the Screen provided by the College in its studios. New two and three manual Wurlitzer theatre organs for lessons and practice, owned and operated by the College.
20SCHEDULE OF LESSONS
211st week lessons—Preparatory for Screen playing
222nd week lessons—Playing of weekly News Feature
233rd week lessons—Short feature film and jazz
244th week lessons—Short feature film, comedy and jazz
255th week lessons—Long feature film and comedy
266th week lessons—Long feature film, comedy, cartoon, scenic and effects; and the playing of song slides.
27Improvisation, modulation, arranging orchestral works for organ, harmonizing from violin and melody parts; dramatizing the picture musically; taking cues and playing from cue lists and playing with orchestra are all given attention in the course. Various styles of playing jazz, ballads, intermezzos, characteristic numbers, etc., will be thoroly covered.
28FREE FELLOWSHIP
29Mr. Demorest has consented to award a Free Fellowship of two lessons weekly, each of thirty minutes, to the student who, after an open Competitive examination, is found to possess the greatest gift for playing theatre organ. Free Fellowship application blanks on request.
30FALL SESSION OPENS SEPTEMBER 13
31COMPLETE SUMMER OR WINTER CATALOG ON REQUEST
32STUDENT DORMITORIES
33Artistic and sumptuous dormitory accommodations for men and women in college building. Piano furnished with each room. Prices reasonable. Make reservations now.
34CHICAGO MUSICAL COLLEGE
3570 East Van Buren Street
36A Conservatory Pledged to the Highest Artistic Standards. Established 1867
37(Chicago Musical College Building)
38Chicago, Ill.
39HERBERT WITHERSPOON, President
40CARL D. KINSEY, Manager
The computer misreads some letters and numbers. Where a name matters to you, read the scan.