Books › Musical Courier 1926-07-08: Vol 93 Iss 2, 1926 › scan 15
Scan 15
Musical Courier 1926-07-08: Vol 93 Iss 2, 1926
59 lines. Read by computer on 29 September 2026. Printed page 16. See the scan on archive.org.
1BERLIN PREMIERE OF KATYA KABANOVA, BY LEOS JANACEK, AROUSES GREAT INTEREST
3Two New Ballets—Edna Thomas Makes a Hit—Other Americans Successful
5BERLIN.—The principal event of the last few weeks has been the first performance at the Municipal Opera of Leos Janacek's opera, Katya Kabanova. The composer has become rather popular in Berlin through the success of his opera, Jenůfa, frequently performed at the State Opera, and expectations were raised to a high pitch. The new work is very similar in style to Jenůfa, without, however, reaching its predecessor in dramatic power. Lacking the chorus, which is so essential a factor in Jenůfa, Katya Kabanova is considerably less effective, and yet the opera has a poetry all of its own, which will make it dear to the real lovers of music, if not to the large public of theater-goers.
7Janacek's dramatic style differs as widely from the German as from the Italian or the French. It is a peculiar mixture of primitive and refined elements—primitive as regards his simple, folk-like melodies and his apparently artless manner of accompaniment; refined in his subtle and expressive manner of declamation, in his masterly treatment of color in harmony and orchestration. Somewhat akin to Mussorgsky, Janacek is still a marked individuality, with a manner of expression so peculiar that it is possible to recognize him quickly.
9The story of Katya Kabanova is concentrated in the principal figure, Katya, and treats of her tragic fate—how she is forced to commit adultery and finally to drown herself, finding no other way out of the menacing complications of her life. All the other characters are dramatically pale and fragmentary, only used as background and foil to the figure of Katya. The Russian atmosphere however, Volga landscape, the majestic river, the flowers and singing birds, the fields and meadows, the summer garden, the winds and thunderstorm are made more alive, almost, than the people moving about in this peculiar world. Taking all in all, one might say that Katya Kabanova is a lyric masterpiece rather than a dramatic one. Its lyric beauties—the power and expressiveness of its sentiment—are extraordinary, and all the more remarkable, as our age, so rich in sensational, brilliant experiments, is lamentably poor in genuine poetry. The performance, prepared and conducted by Fritz Zweig, was impressive and did full justice to the score of the modest Czech master. The opera had a well-deserved success. It was received with almost universal approval by the entire press, and heartily applauded by the audience. The master was also the recipient of many honors.
11The opera has likewise brought out Bernhard Schuster's comic opera, Der Lieb des Glückes (The Thief of Happiness), given with fair success in several provincial houses. The composer is well known in musical circles of Germany as the editor of the periodical, Die Musik. As a composer he was hardly known, though he is by no means young in years. His score shows the skill and experience of a full-fledged musician who has open ears for effective things.
13It is regrettable that he did not hit upon a libretto that gave him better chances. The plot treats of the revenge of a young knight who, as a child, had been forcibly removed from his castle by his relatives, in order that in due time these loving relatives might claim the property of the young man. Just on the day when the court is about to decide the case, the young knight turns up quite unexpectedly and overthrows the deceitful plans of the presumptive heirs. Some love-making is included, nor are romantic scenes lacking, but the contents are too meagre for three whole acts.
15A BALLET NIGHT
17The State Opera has brought out two new ballets, which gave Max Terpis a chance to display his talents as choreographic director. A romantic ballet, Don Morte, was given its premiere. Terpis has taken for the scenic basis of his dance-fantasy a story of Edgar Allan Poe. Death, as a Spanish knight, passes through the crowd of the poor people and through the princely castle, finding his victims here and there. The contrasting episodes of the rich and the poor give rise to a number of effective stage-pictures and characteristic dance-numbers. Terpis himself personified Don Morte. The music, written by Friedrich Wilckens, is a skillful copy of Richard Strauss, brilliant and effective, without any distinctive individual note.
19Much more valuable musically was Manuel de Falla's ballet, El Amor Brujo, given on the same evening. Terpis, Dorothea Albu and Edith Moser were much applauded in this graceful, amusing piece. Costumes and decorations were designed by Pirchan.
21EDNA THOMAS THE TALK OF BERLIN
23A number of American artists have concertized with considerable success. Edna Thomas, from Louisiana, has given one of her inimitable recitals of Creole songs. We have heard these strange and often touching melodies interpreted by several American singers before, but never with so strong a ring of truth, of genuine accent. Miss Thomas was entirely unknown in Berlin. Nevertheless, after her second concert she was the topic of the day in musical circles, and when she returns here she will find a considerable number of admirers welcoming her in anticipation of her unusually enjoyable offering. Miss Thomas sings with an agreeable voice; she has, moreover, the rare gift of presenting every song in a most characteristic, realistic, vivid manner. Her assistant at the piano, Constance Piper, had her full share in the extraordinary and well-deserved success, both with the Berlin press and the public.
25Marie Louise Wagner, who gave a song recital, seems to be predestined for grand opera by the power and brilliancy of her mezzo-soprano voice. In opera arias she is decidedly more at home than in the more refined and intimate beauty of German classical song.
27RUTH BRETON A SUCCESS
29Ruth Breton is a young violinist of remarkable talent. She played compositions by Vitali, Vivaldi, Lalo, and others with full command of all technical difficulties, with elegance and pure, cultivated tone. Conrad van Bos, master of the art of accompanying, lent his valuable assistance to this gifted young player.
31Finally there was Haig Gudelian. He comes from Armenia and has the ambition of presenting to western European audiences the "genuine" oriental music. His compositions for violin and piano, played by himself and his wife, are interesting for their strange melodic, harmonic and rhythmical traits rather than for their intrinsic value as compositions. A certain affinity to the Jewish Synagogue melodies is evident.
33Music Students' League Musicale
35The bi-monthly musical of the Music Students' League of New York, Inc., was held June 29 at the Hotel Latham. The meeting was well attended and an excellent program rendered by the following members: Esther Arnowitz, pianist; Alice Gates, soprano, accompanied by Florence Mendelson; Louis Sugarman, pianist; Suzanne Gamberdella, soprano, accompanied by Louis Sugarman, and Salvatore D'Agostino, tenor, accompanied by Florence Mendelson.
37LUILLA MELIUS,
38who will sing many of the leading coloratura roles at Ravinia Opera (Chicago) this summer. Mme. Melius met with unusual success during the Chicago 1925-26 winter opera season. She has been engaged for twelve appearances at Ravinia.
40ADOLPH LEWISOHN,
41donor of the City College Stadium and honorary chairman of the Stadium Concerts, which opened on July 7 under the baton of William van Hoogstraten. (Photo © Underwood & Underwood.)
43FIRST WEEK OF CINCINNATI
44ZOO OPERA IS SOLD OUT
46CINCINNATI, OHIO.—The brilliant success of the first week of summer opera at Cincinnati, which was marked by sold out houses and enormous crowds standing through the entire production of Tannhäuser, was not diminished the second week when Cincinnati music lovers hailed with delight two of its favorite singers, Italo Picchi and Fred Patton, who have both been identified with the Zoo concert seasons. Flotow's charming opera, Martha, opened Sunday night with Fred Patton singing the role of Plunkett, and Ernest Davis, who won his audiences the previous week by his portrayal of the Duke in Rigoletto. Opposite these artists were Ruth Joan, whose triumphs as Gilda were equalled by her success as Lady Henrietta, and Kathryn Browne who, as Nancy, won the audience with her whimsical portrayal of the role to which her rich contralto is beautifully adapted.
48That the audience appreciates the efforts of Isaac Van Grove, the conductor, was evidenced at each performance, when he, too, was called before the curtain to receive his share of the plaudits. The production of The Love of Three Kings by this company assembled under the management of Clarence E. Cramer, was an artistic success.
50William Smith Goldenburg, Cincinnati Enquirer critic, said of the opening performance of Martha: "The Fair scene of the first act was an attractive setting and Ernest Davis, as Lionell, and Fred Patton as Plunkett, immediately established themselves as favorites of the cast by entering earnestly into the spirit of the music and of the action. Their first duet was brilliantly sung. Davis' high tenor voice, clear and penetrating, dominated many of the scenes, his rendition of the M'appari (Like a Dream), being distinguished for its fervor and eloquence. Fred Patton revealed a surprising gift of humor and invested the role of Plunkett with those broad comedy touches that made his interpretation the outstanding contribution of the performance. Vocally he excelled in the singing of the famous Porter song, an appetizing bit of frolicsome music particularly palatable in this day of prohibitions and inhibitions. Joan Ruth's clear, bell-like coloratura voice was admirably suited to the parts written for the title character, and her rendition of the Last Rose of Summer, sung in English, was a delicate gem of vocal expression. Natali Cervi's portrayal of the much-abused Sir Tristan, Herbert Gould's reinforcing of the ensemble as the Sheriff, Benjamin Groban, Sam Pearlman, Sam Bova, Helen Nugent, Violet Summer and Pearl Besuner adding to the sparkling finish of the entire production, were all greatly appreciated by the audience.
52The Matinee Musical Club of Cincinnati, one of the most powerful influences of the city in furthering music, lent prestige to the opening performance of L'Amore dei Tre Re by sponsoring a large block of seats on Monday night, and, with its president, Mrs. Adolf Hahn, bringing a number of distinguished guests to enjoy this premier.
54Mr. Cramer's company is acknowledged by Aura Smith, Cincinnati Commercial Tribune critic to have "accomplished the stupendous task of presenting such a spectacle with genuine distinction."
56Walter Leary Sings in Painesville
58Walter Leary, baritone and teacher, sang in Painesville, Ohio, before a large and appreciative audience which had gathered to enjoy the annual commencement concert of the Lake Erie College Glee Club. According to the Painesville Telegraph: "The concert was distinguished by the appearance of Walter Leary in two groups of songs and as soloist with the glee club in Henry Hadley's cantata, The Golden Prince." Mr. Leary completely won his audience by his attractive personality, his rich voice, and the most admirable choice of songs. He especially pleased in Homer's Pauper's Drive and Moss' The Floral Dance. He was also heard with great delight in two familiar Handel arias and miscellaneous songs by Georges, Grieg, Secchi, and Densmore, besides an attractive group of encores sung in a thoroughly captivating manner. Mr. Leary's style and diction are excellent. His regard for the text and his thorough musicianship are especially pleasant to contemplate. On top of this, he has a golden, glorious voice—vibrant, smooth in texture and capable of the demands of the most exacting songs."
The computer misreads some letters and numbers. Where a name matters to you, read the scan.