Books › Musical Courier 1926-07-08: Vol 93 Iss 2, 1926 › scan 18
Scan 18
Musical Courier 1926-07-08: Vol 93 Iss 2, 1926
129 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1July 8, 1926
3RAVINIA OPERA
4(Continued from page 5)
6and lovely personality. She is an artist in the best sense of the word and her Juliet stands out as a cameo. She revealed the gamut of her impeccable technical facilities in the waltz song, after which she received rapturous plaudits which stopped the performance right then and there. Throughout the opera Miss Bori gave entire satisfaction through the clearness and warmth of her tone, the simplicity and ingenuity with which she portrayed a role that suits her like the proverbial glove. Her delivery was excellent as was also her phrasing, and all in all her performance was capital and one long to be remembered.
8Edward Johnson made his first bow to a Ravinia audience as Romeo. Naturally nervous in the first scene, he came into his own in the second act. He sang O Lève toi soleil as it has seldom been heard in these surroundings. From the beginning of the second act to the end of the performance Johnson poured out silvery tones of great beauty that charmed the ears of his auditors. Johnson belongs to that category of singers who may well be qualified as artists and musicians. His every gesture was artistic and he is one of the few tenors who really look like Romeo the symbol of youth, as Juliet is the symbol of pure love. Johnson made a hit with the audience and he will be as popular from now on at Ravinia as he was during his stay with the Chicago Opera at the Auditorium. How wise was Louis Eckstein to have brought Johnson back to this part of the country, and how sad that the Chicago management permitted the Canadian tenor to be made a member of the Metropolitan. The balance of the cast was more than adequate. Leon Rothier sang beautifully the role of Friar Laurence; Jose Mojica was a handsome and well voiced Thibalt, and the performance sailed smoothly under the direction of Louis Hasselmans.
10JUNE 30, LUCIA DI LAMMERMOOR
12Luella Melius and her "million dollar trill" made their first appearance at Ravinia in a performance of Donizetti's Lucia. Mme. Melius is looked upon as one of the leading coloraturas of the day and won her Ravinia audience as quickly as she did a Chicago audience last season at the Auditorium. The big opportunity for Lucia comes in the mad scene and though Melius had done capital work from her first appearance, it was really in her last scene that she completely captured her auditors. There are no intricacies for Melius, as her voice has been so well schooled and her technic is so fluent that she adds obstacles where other coloraturas are often happy to just surmount those written by Donizetti. If it were only to hear Mme. Melius trill her box-office value would be assured, as her trill is only comparable with that of a canary bird and, as a matter of fact, she trills better than any bird. Her voice has that purity, clarity of tone, that has been so often referred to as "clear as crystal" and each of her tones was a delight to the ear. She made a sensational success, being recalled after the mad scene so often that this reporter lost count. Beautifully gowned she looked regal to the eye, and she walked through the part sufficiently well to give satisfaction from a histrionical point of view. A big debut that presages many enjoyable evenings whenever Melius is cast.
14The singers of yesterday tell us of singers who could sing a light opera on one evening and the next evening a heavy opera. Such singers are not dead; there are many among us, one being Giovanni Martinelli. Here is a man who sings the roles written for robusto tenors, lyric, and light tenors. It is not an easy matter for any tenor to sing Des Grieux in Puccini's Manon Lescaut one evening, then Edgardo in Lucia, later in the season Don Jose in Carmen, and Samson in the opera of that name. It may be that Martinelli's voice is a little too heavy for the part of Sir Edgar. This is probably due to the fact that our ears nowadays are accustomed to listening to lighter tones in the Donizetti opera, but for those who remember the tenors of yesterday in Lucia, Martinelli's delivery was absolutely correct. Many others shared that opinion, for his success with the public was complete. For some unknown reason, Mr. Martinelli had made up to look like Ignace Paderewski, the pianist, and his colleague, Giuseppe Danise, who made his re-entree as Sir Henry, made up as another pianist, a young de Pachmann. After all, it is possible that Sir Edgar and Sir Henry looked like those two pianists, but the resemblance was so manifest that to ignore it would be a lack of good judgment on our part. Danise sang his role most artistically and he won the favor of his listeners. Papi conducted.
16It may be that throughout the season little mention will be given in these columns to the stage manager and to the chorus. Therefore let it be said here that the stage manager, Armando Agnini, is all that can be desired. Every opera he stages is done in a manner that reveals a master hand, and the praise that is written today after Lucia could be written after every opera performed so far and most likely after all those that are scheduled for this season. As to the chorus, it is unique in this respect that the men and women that comprise that body are superb singers, and though comparatively few in number they sing with such enthusiasm and beauty of tone that their work gives éclat to any performance. The chorus of Ravinia is made up of picked voices from the Metropolitan Opera chorus and a few perhaps belong to the Auditorium. They are routine choristers, men and women who do everything well that is asked of them, not only singing with precision and firmness of tone, but also acting as though they were part of the plot and not dummies standing at attention for the sole purpose of singing the music written for the chorus. Each one plays a part in the drama or in the comedy, and in this also the chorus of Ravinia is unique.
18Having written at length concerning the chorus and previously about the orchestra, one can understand why Ravinia reigns supreme among opera houses functioning during the summer months. The principals are all stars of big magnitude and the conductors do splendid work, so that every performance is therefore a joy to attend.
20Due to the Fourth of July vacation, the performances given during the balance of the week will be reviewed in the next issue of this paper.
22On Thursday night Faust was given with Rethberg, Johnson, Rothier, Basiola, with Hasselmans conducting. Martha, on Friday night, was presented for the re-entree of Macbeth in the title role. The quintet of principals was completed with Chamlee, Bourskaya, Lazzari and Trevisan. Hasselmans again conducted.
24Saturday, Aida was offered with Rethberg, Martinelli, Danise, Bourskaya, Rothier, with Papi conducting. At the second performance of Lucia, on Sunday evening, a new cast was brought forth, the Lucia being entrusted to Macbeth; Edgar was given to Chamlee, and Basiola was Ashton.
26An extra performance, instead of the regular Monday symphony program, took place on July 5, Carmen being the bill for the re-entree after several years' absence of Alice Gentle in the title role. Melius was Micaela, Johnson the Don Jose, and Basiola the Torador. Pellitteri was scheduled to conduct.
28RENE DEVRIES.
30Young Artist Accomplishes Amazing Memory Test
32Beatrice Belkin, artist-pupil of Estelle Liebling, performed the unusual memory feat of learning in one week three leading roles when she was called upon at a week's notice to sing Gilda, Lucia and Martha in Atlantic City with the
34
36Philadelphia Scala Opera Company. In one week she prepared, musically and dramatically, these three parts. Miss Belkin is only nineteen years old, hails from Lawrence, Kans., and has been studying with Miss Liebling for the last two years.
38Madge Daniell Pupils Busy
40Freida Moss, soprano, was soloist at Washington Irving High School at a concert given by City Schools of Music of which Madge Daniell is head of the vocal department. Miss Moss' voice is a full dramatic soprano and she has been trained at the school by Miss Daniell. Sophie Stoile, a private pupil of Mme. Daniell's, was heard in a group of songs at a reception of the Sons of Israel in Westminster Hall. Miss Stoile possesses a beautiful, light voice with high F. All her training has been with Mme. Daniell.
42Lucille Arnold, just returned from a concert trip in Vermont, has been engaged by the Schuberts for a prominent part in the new operetta, Barbara Freiche. She has just signed a long contract.
44Ruth Manahan was engaged for Brookline, Mass., with a Chautauqua company. Ella Lang, soprano, has been engaged for the third year to direct the choir and as soloist at St. Paul's Lutheran Church, Richmond Hill. Lucille Koch is in her fifth year at St. James in Elmhurst, L. I. Mildred Post has just been engaged as soloist for the Methodist Church, of Westwood, N. J. These are Miss Daniell's private pupils (only Miss Moss belongs to the school).
46Grace Harding Chambers sang at the Sesqui-Centennial on July 4 in Philadelphia, representing the State of North Carolina, where she is at present living. She received all her voice training with Mme. Daniell for four years and was soloist in the Bronxville, N. Y., Reformed Church. She is soloist at Pinehurst, N. C., now and is very active musically. She still works with Mme. Daniell when in New York, and when away she keeps in touch with her teacher by mail, the latter sending exercises for her to use. one of two readings
47Grace Harding Chambers sang at the Sesqui-Centennial on July 4 in Philadelphia, representing the State of North Carolina, where she is at present living. She received all her voice training with Mme. Daniell for four years and was soloist in the Bronsville, N. Y., Reformed Church. She is soloist at Pinehurst, N. C., now and is very active musically. She still works with Mme. Daniell when in New York, and when away she keeps in touch with her teacher by mail, the latter sending exercises for her to use. one of two readings
49Madge Daniell has other pupils coming forward. Lucy Iawler is still in the Vagabond King at the Casino; Eleanor Witmar is to reenon in the Shuberts' Maritza, and Thelma Morgan is with the Shuberts' Temptations.
51Perutz Pupils Win Honors
53CINCINNATI, OHIO.—High honors have been won by three pupils of Robert Perutz, violinist and artist member of the Conservatory of Music faculty. During the convention in Cincinnati of the Ohio Music Teachers' Association, Robert Bernstein won the first prize for violin playing in the state contest. Young Bernstein is a gifted violinist who has acquired excellent technic and good interpretation under the able instruction of Mr. Perutz. May 22, two of Mr. Perutz' pupils—Christine Colley of Dayton, Ohio, and Hobart Schoch, DuBois, Pa.—won first and second prize respectively in the Mertes contest for violin pupils of the Conservatory of Music. Albert V. Mertes, of Cincinnati, offered two prizes, of which Miss Colley won the valuable Master Art replica violin (David Techler, Fecit Rome, 1697), and Mr. Schoch won the Hill bow. Miss Colley is a member of the Conservatory of Music orchestra under Dr. Ralph Lyford. She also plays first viola in Dr. Karol Liszniewski's string quartet. Mr. Schoch, a gifted violinist, who like Miss Colley, has been under the tutelage of Robert Perutz for several years, is a member of the Cincinnati Symphony Orchestra under Fritz Reiner, and has been reengaged for the next season. The contest was a very interesting one in which Bach was a required composer and other classical composers were left to the choice of the contestant. Among the judges were Emil Heermann, concertmaster of the Cincinnati Symphony Orchestra, himself a possessor of one of the finest Antonio Stradivarius violins in existence. Such contests are an excellent stimulus for the young students and much credit is due Mr. Perutz for preparing his pupils in such a thorough manner that they come out winners.
55MUSICAL COURIER
57HUGHES
58SUMMER MASTER CLASS FOR PIANISTS JUNE 28-AUG. 7.
59Management of EDWIN HUGHES, 340 W. 89th St., New York
61JOSEPH REGNEAS
62VOCAL INSTRUCTION
63135 W. 89th St., New York
64Tel. 4386 Trafalgar
65Consultation only by appointment
67ADELAIDE FISCHER
68LYRIC SOPRANO
69Phone Nevins 1091 401 Knabe Building, New York City
71ARNOLD CORNELISSEN
72Conductor Buffalo Symphony Orchestra
73"Although there was no rehearsal the orchestral accompaniment of my piano concerto op. 5, under your baton, was excellent.
74(Signed) EINSTEIN VON Dohnanyi."
76ADALBERT OSTENDORFF
77PIANIST-INSTRUCTION
78Studio: 406 Carnegie Hall New York City
79Write for appointment
81FRANCES SEBEL
82LYRIC SOPRANO
83Management: R. E. Johnston 146 Broadway, New York City
84Personal Address: 164 West 79th St., N. Y. Phone 9666 Endicott
86ETHEL NEWCOMB
87PIANIST
88WHITNEY POINT NEW YORK
90JOHN A. HOFFMANN, Tenor
91Member of the Artlist Faculty of the CINCINNATI CONSERVATORY OF MUSIC
93JOHANNES MAGENDANZ
94Director Piano Department
95Utica Conservatory of Music – Utica, N. Y
97ROBERT PERUTZ
98VIOLINIST
99For terms apply: BURNET TUTHILL Cincinnati, Ohio
101Mme. Martha BRAARUD
102TEACHER OF SINGING
10365 East 54th St., New York Telephone 6747 Plaza
105Mme. HELENE SAXBY
106Will give her usual Six Weeks Course (from July 1st) SIGHT READING (PIANO-VOCAL), THEORY of MUSIC, concluding with an Examination.
107Her work in England in connection with R. A. M. and R. C. M. Examinations was fully endorsed by Sir GEORGE GROVE and ERNST FAUER, and is in use in many of the best SCHOOLS OF MUSIC, LONDON, ENGLAND. A class in the ART PROGRESSIVE SERIES can also be arranged, Mme. Saxby being a Graduate, Associate and Examiner of the Society.
108504 S. OREGON AVENUE TAMPA, FLORIDA
110JOHN HEATH
111PARIS PIANIST
11222, rue VISCONTI
114BLANCHE MARCHESI
115SINGING ACADEMY
116202 rue deCourcelles Paris, France
118WAGER SWAYNE
119June 20 to August 1
1203 Ave. Sully Prud'homme (Qual d'Orsay) Paris vii, France
121Elwin A. Calberg, Manager, 812 E. 16th St., San Francisco
123ANTONIO BASSI
124Correspondent and representative of the Musical Courier for Milan, Italy.
125will be glad to hear from all Americans studying, singing or playing in Italy, and is always at their service for information of any kind which will be gladly furnished without charge by correspondence or in personal interviews.
126Milan Office of the Musical Courier,
127Via Durini, 31
128Telephone 19-345
The computer misreads some letters and numbers. Where a name matters to you, read the scan.