Books › Musical Courier 1926-04-22: Vol 92 Iss 16, 1926 › scan 24
Scan 24
Musical Courier 1926-04-22: Vol 92 Iss 16, 1926
69 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 25. See the scan on archive.org.
1April 22, 1926
3METROPOLITAN OPERA
5LA TRAVIATA, APRIL 10 (MATINEE)
6Lucrezia Bori was the star of the performance at the matinee presentation of Traviata on April 10, at the Metropolitan. It seems that every time one hears Miss Bori that particular performance seems just about the best that this delightful artist has done. On this occasion she portrayed the part of Violetta in a manner which left nothing to be desired by the most vivid of imaginations. Her characterization was a thing of sheer loveliness, appeal and warmth. All technical difficulties were as nothing in her fine vocal gymnastics of the first act aria. Her voice was clear and limpid, and she has an ease of execution which is of tremendous value in such florid music. In the last act there were many veterans of operatic performances who needed the use of a handkerchief. Miss Bori was most capably assisted by Lauri-Volpi as Alfredo and Giuseppe Danise as Germont. Both artists acquitted themselves in superb manner. Mmes. Egener and Anthony, with Messrs. Paltrinieri, Reschiglani, Picco and D'Angelo, completed the cast. Serafin gave a reading to the score which was undoubtedly an inspiration to all the musicians concerned.
8LA BOHEME, APRIL 14 (MATINEE)
9Lucrezia Bori's last appearance of the season took place on the afternoon of April 14, when that delightful singer once again impersonated the part of Mimi in La Boheme. Miss Bori's fine abilities have so often been reviewed in these columns that anything added at this hour would seem highly superfluous. Suffice it to say that she was again the center of attraction, both with her exquisite vocal display and dependable histrionic ability. She made the character of Mimi a lovable and appealing one, and she had the fine assistance of Gigli as her beloved Rodolfo. The rest of the excellent cast was made up of Louise Hunter as Musetta, Scotti as Marcello, and Didur, Rothier, Ananian, Altglass, Malatesta and Reschiglani in other parts. Papi conducted.
11FAUST, APRIL 14
12On April 14, Gounod's Faust was presented at the Metropolitan before a capacity audience, with the usual standees crowding the rear. The cast included Lauri-Volpi (Faust), who sang his role exquisitely; he was in excellent voice and received a well deserved ovation. Chaliapin as Mephistopheles is always a real treat histrionically as well as vocally. Queena Mario (Marguerite) sang her part artistically and with much finesse; her lovely, silvery voice was warm and sympathetic and she shared in the honors of the evening. Others in the cast who added much to the excellent performance were: Danise (Valentin), James Wolfe (Wagner), Grace Anthony (Sielbel) and Kathleen Howard (Martha). Louis Hasselmans conducted.
14DIE GOTTERDAMMERUNG, APRIL 15
15The thirty-first and last Wagnerian performance of the present season took place at the Metropolitan on April 15. The work was Gotterdammerung. It was a fine cast, particularly on the male side. Nowhere in Germany is there a better trio in the three roles than Rudolf Laubenthal, as Siegfried, Friedrich Schorr as Gunther, and Michael Bohnen as Hagen. Laubenthal in particular is a treasure. Plenty of men can sing Gunther and Hagen, but there is nobody today who can sing and act Siegfried better than Laubenthal, and few who can do it half as well. He has been taking the entire burden of the Wagnerian tenor parts on his shoulders in the latter part of the season, but his voice shows no sign of being tired, and he plays with vigor and spirit. Schuetzendorf makes a picturesque Alberich, although very little of his text is understandable. The women of the cast were Nanny Larsen-Todsen, Marie Mueller, Karin Branzell, Elisabeth Kantd, Phradie Wells and Marion Telva. Mme. Larsen-Todsen was her conventional self. She is never bad and rarely if ever thrilling. Mari Mueller and Karin Branzell have fine voices, and in the presentation of the characters they represented they are especially sympathetic. Artur Bodanzky conducted.
17DON QUICHOTTE, APRIL 16
18Friday night, April 16, saw another performance of Don Quichotte, with Chaliapin interpreting this role again to the delight of a capacity audience. There was one change in the cast: Marion Telva sang Dulcinea. De Luca, as Sancho, again gave a superb interpretation, both vocally and histrionically. This novelty of the season was greeted with considerable interest, and it is unfortunate that the performances came so late in the season for it is one of Mr. Chaliapin's greatest roles, and many others undoubtedly would like to have heard him.
20ANDREA CHENIER AND PETRUSCHKA, APRIL 17 (MATINEE)
21Giordano's four-act opera, Andrea Chenier, was repeated on April 17 with Stravinsky's Petrushka to make up for good measure. In Chenier the cast included Danise, Bourskaya, Easton, Dalossy, Reschiglani, Meader, Gigli, Malatesta, Didur, Bada, Picco and others—an all-star cast. The performance was conducted by Serafin and called for an ovation for the principals.
22Petruschka, with Florence Rudolph, Adolph Bolm, and others, also conducted by Serafin, caused the usual amusement that Stravinsky, humorist, is so capable of inciting.
24LA GIOCONDA, APRIL 17
25The last performance of the season at the Metropolitan presented La Gioconda, with Larsen-Todsen in the title role, Lauri-Volpi as Enzo, Basiola as Barnaba, Telva as La Cieca, Mardones as Aloise, Branzell as Laura. It was a non-subscription performance, and the house was packed with fervent devotees of the type of opera such as Gioconda is. After the favoriterias there were salvos of applause, the Cielo e Mar winning for Lauri-Volpi shouts of bravos. He merited the demonstration, as he delivered the aria with a fine line of vocal restraint in the first part, coming to a tremendous climax which involved his whole physical and dramatic powers. Basiola was as ever a delight to the ear; such ease of production should be either a good lesson to singers or their total despair. Mardones, too, was at his best. His long scene in the third act was a dignified and beautifully toned rendition. Giulio Setti conducted an orchestra that had warmth, even though at times, whether through the fault of conductor or singers, there was not a complete understanding between them. The Dance of the Hours was worth the price of admission alone. The applause was long and vociferous. It was the final opera performance of the season here and brought to a close one of the best years in the records of the Metropolitan.
27SUNDAY NIGHT CONCERT, APRIL 18
28The final Sunday Night concert at the Metropolitan introduced thirteen artists, who sang their numbers sans the orchestra (which had left for Atlanta) and to the piano accompaniments of Karl Riedel and Paul Eisler. Among the artists there was Leonora Sparkes, making an infrequent appearance with the company, and giving a fine interpretation of Musetta's Waltz Song from Boheme. Attracting more than passing notice, too, on the first half of the program, was Queena Mario, who was most cordially received and feted after her singing of Caro Nome, in which she revealed all the lovely quality of her voice and her technical skill. Phradie Wells did full justice to the aria from Cavalleria Rusticana, followed by a duet from Carmen by Miss Mario and Ralph Errolle, with James Wolfe, all being recalled times too numerous to count after his stirring rendition of The Volga Boatmen, given with fine voice and style. Cecil Arden was impressive, too, in an aria from Lucrezia Borgia, while the Barcarolle from Tales of Hoffmann and the trio from Faust brought the season to a close. There was a large audience present. Au revoir, until next season!
30MacDowell Club Hears Fay Foster Trio
31The MacDowell Club is noted for its fine discrimination in its musical offerings, and never was this more in evidence than on April 11, when the newly organized Fay Foster Trio presented a group of Spanish songs, sung in their native language, arranged in trio form by Fay Foster herself. The songs were unusually beautiful and interesting and the Spanish pronunciation of the singers so excellent that some Spaniards present accosted the singers at the close of the evening in that language and were surprised to learn that they were not natives of Spain. Miss Foster looked attractive in a most becoming Spanish costume.
32The personnel of the trio consists of Fay Foster, soprano; José Berge, baritone, and Jean Gravelle, bass-baritone. Miss Foster is best known to the musical world as a composer, though for years she has been recognized in New York as a successful vocal teacher. She has a clear, flexible and extremely pleasing soprano voice and her coloratura work is delightful. Mr. Berge's voice is powerful, resonant and well managed. He was previously a member of the Princess Flavia Company. Mr. Gravelle is a true bass-baritone, a rara avis. His is an unusually sympathetic quality of voice, with purity and richness of tone and a finished production. In their Spanish group, all three of these artists acquitted themselves creditably, giving much pleasure.
34A MASTER BASS
35Allentown, Pa., Morning Call.
36"Voice is beautiful."—Walter Damrosch.
37"Voice of beautiful quality, exceptionally well-trained."—Pitts Sanborn.
38SOLOIST AT MOST OF THE BIG FESTIVALS, INCLUDING TWO CINCINNATI AND TWO SPARTANBURG FESTIVALS, WORCESTER, CORNELL, etc., AND WITH NEW YORK, PHILADELPHIA, DETROIT AND BALTIMORE SYMPHONY ORCHESTRAS.
40CHARLES TROWBRIDGE one of two readings
41TITTMANN one of two readings
42CHARLES TROWBRIDGE TITTMANN one of two readings
43ENGAGED FOR 11TH CONSECUTIVE YEAR AT BACH FESTIVAL, MAY 14, 1926
45PRESS AND OTHER COMMENT FROM 1925 and 1926
46AIDA with WASHINGTON OPERA COMPANY, March 3, 1925, with President Coolidge, entire Diplomatic Corps and cabinet in audience of 6000.
47"Washington has opportunity again to be proud of Charles Trowbridge Tittmann. . . ." (Wash., D. C., Evening Star, March 4, 1925.)
48"… in the role of Ramphis . . . has grown in operatic stature to commanding heights, . . . is an artist of national reputation in oratorio. But again one must stress the fine fervor and beauty of his voice and the artistic freedom that his operatic appearances have added to his work." (Wash., D. C., Times, March 4, 1925.)
49IN CESAR FRANCK'S BEATITUDES, WITH ORATORIO SOCIETY OF NEW YORK
50"Mr. Tittmann as the Angel of Death in the Sixth Beatitude sang with authority and deep feeling as he did in the part of Satan in the later sections and won much applause." (N. Y. Evening Post, April 16, 1925.)
51SOLOIST IN B MINOR MASS ON FIRST VISIT OF FAMOUS BACH CHOIR TO WASHINGTON
52"Mr. Tittmann's glorious bass was never heard to better advantage. He quite covered himself with glory." (Wash., D. C., Herald, April 17, 1925.)
53"… was at his impressive best." (Wash., D. C., Times, April 17, 1925.)
54RECITAL and baritone role in NEVIN'S LAND OF HEART'S DESIRE at RANDOLPH-MACON WOMAN'S COLLEGE, Lynchburg, Va., April 23, 1925.
55"Mr. Tittmann's appearance in concert with the chorus of Randolph-Macon Woman's College pleased everyone. His voice is magnificent, his use of it masterly and his choice of songs could not have been better.
56Signed: FRANK A. TABER,
57Director of Music."
58IN RACHMANINOFF'S "THE BELLS" AND BACH B MINOR MASS AT MAY FESTIVAL, ANN ARBOR, MICHIGAN
59"Mr. Tittmann made a deep impression with his solo numbers." (Edward Moore in Chicago Tribune, May 22, 1925.)
60"… was eminently capable. His deep, rich-toned organ was under complete control." (C. M. Tarnsey in Detroit Free Press, May 22, 1925.)
61SAMSON AND DELILAH with WASHINGTON OPERA COMPANY. Homer, Alt-house and Patton in this All-American cast.
62"… fine work . . . magnificent basso was an eloquent factor in the opera in the dual roles of Abimilech, Satrap of Gaza, and An Old Hebrew. . . . has a striking stage presence and was generously applauded." (Wash., D. C., Post, Jan. 26, 1926.)
63"… was a vital and compelling figure as the Satrap, sinister and splendid in vocal equipment." (Wash., D. C., Times, Jan. 26, 1926.)
64IN BACH ST. MATTHEW PASSION, with DETROIT SYMPHONY CHOIR, OSSIP GABRILOWITSCH, conductor
65"… supported with his firm bass, the general rule of perfect enunciation and unity of purpose for which Mr. Gabrilowitsch strove and which I cannot recall being surpassed. . . . he brought dignity, sincerity and impressive tone." (Cyril A. Player in Detroit News, March 31, 1926.)
66Address Personally for Terms, Etc., at
671718 Connecticut Avenue
68Washington, D. C.
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