Books › Musical Courier 1926-07-08: Vol 93 Iss 2, 1926 › scan 30
Scan 30
Musical Courier 1926-07-08: Vol 93 Iss 2, 1926
25 lines. Read by computer on 29 September 2026. Printed page 31. See the scan on archive.org.
1July 8, 1926
3La Forge-Berumen Studio Notes
4The regular La Forge-Berumen Saturday evening musicale was broadcast through WOR on May 29. Charlotte Mehringer, mezzo contralto, heard in two groups, revealed a rich voice of wide range, Hilda Holpier accompanying effectively. Gretchen Altpeter displayed a soprano of beautiful quality and interpreted artistically, accompanied by Rock Ferris. Helen Phillips gave evidence of good technic and abundant strength in piano solos. This series of concerts was brought to a close on June 12 when Arthur Kraft sang a group of La Forge compositions accompanied by Mr. La Forge. Miss Altpeter, Miss Mehringer and Manlio Ovidio revealed excellent voices, and Evelyn Smith pleased in piano solos. The Grieg A minor concerto was played by Frank La Forge, accompanied by orchestra. Despite long absence from solo work, Mr. La Forge played beautifully. A number of operatic arias with piano and orchestra accompaniment followed with Mr. La Forge at the piano. Those participating were Flora Bell, Miss Altpeter, Frances Fattmann, Miss Mehringer, Arthur Kraft, Gil Valeriano and Mr. Ovidio.
6Samuel Ljungkvist, Swedish tenor, sang for the Crown Prince and Princess of Sweden on June 1 at the commencement exercises of Upsala College at East Orange, N. J.
8A concert was given at the Rye Methodist Church on June 3 under the direction of Mr. La Forge and Ernesto Berumen. Erin Ballard, pianist, opened the program with Leschetizky's Etude Heroique, in which she displayed considerable brilliance. Mr. Ovidio sang Retreat and Io passo la vida, by Mr. La Forge. His voice is distinctly of operatic quality and a fine career has been predicted for him. Miss Altpeter sang a group concluding with the Waltz Song from Romeo and Juliet. Rock Ferris accompanied these two singers by memory and scored a decided success. Miss Mehringer sang the aria from Nadeschda by Goring-Thomas, accompanied by Miss Holpier. Her voice is rich and sonorous and she sang with taste and feeling. Miss Ballard again revealed her pianistic gifts in Romance and Valse de Concert by La Forge. A group of favorite Spanish numbers followed, sung by Gil Valeriano, who is fast becoming popular as a concert artist. Flora Bell sang Una voce poco fa from the Barber of Seville, her voice is of beautiful quality and she sings with ease and control. Alice Vaiden, accompanying Mr. Gil, and Hilda Holpier, accompanying Miss Bell, both played in a musically manner. Miss Fattmann sang a group including two recent compositions by her teacher, Frank La Forge, namely, Hills and Song of Love. She possesses a voice of dramatic quality and sings with an understanding of her text. Myrtle Alcorn furnished splendid accompaniments. Arthur Kraft gave a group of La Forge compositions with Mr. La Forge at the piano. Mr. Kraft's selections included To a Violet, Spooks, To a Messenger, Little Star, and Song of the Open. The tenor has firmly established himself in the musical world and is kept busy throughout the year fulfilling engagements from coast to coast. Solenne in quest' ora, from La Forza del Destino, sung by Mr. Kraft and Mr. Ovidio, concluded the program. Their voices blend beautifully and the rendition was a fitting close to the splendid program.
10Albertina Rasch Forms American Ballet
11A genuine American ballet is the promise of Albertina Rasch, premiere danseuse and dance composer, for the latter half of the coming season under the management of Block & Endicoff, concert managers. "Almost every foreign star the best intentions, but also probably because this is the correct thing to say on arrival in this country," she added.
13Miss Rasch came to America at the age of sixteen from the Royal Opera of Vienna, where she had graduated from the ballet school of that institution and served a year as prima ballerina in the opera. She had the same idea of creating a real native corps of dancers then, but kept it to herself. An earnest of her intentions, however, was in becoming an American citizen, which she did as soon as possible. After several seasons in the opera houses of New York and Chicago, she opened her own atelier and began training American girls, and some boys, in the classic ballet, character, folk and other dances. Up to the present time there are over three hundred native dancers trained by her now appearing in many dance organizations in opera, Broadway productions, picture houses, the New York Hippodrome, vaudeville and other units. From these she intends to recruit the most distinguished and talented to the membership of the First American Ballet.
15"An American ballet, to be truly American, must be more than simply citizens of this country," she says. "The choreography must be the work of native brains, the music by American composers, the scenery and costumes designed by home-grown artists, and everything that goes to make up the whole must 'spring from the soil' of this country."
17Miss Rasch will head the company herself, and all other solo dancers will be young Americans who have won distinction under her tutelage.
19Elsa Foerster in Dusseldorf
20Elsa Foerster, American prima donna, now leading soprano of the Cologne City Theater, was recently guest-artist in Dusseldorf, her previous post, singing Aida with fine success. The local Nachrichten, Lokal Zeitung, Tageblatt and Duss Zeitung all praised her. Quoting, the Nachrichten said in part: "A festal spirit was given the performance through the participation of Frl. Foerster, whose artistic ability has risen since her period here. Her singing and acting were splendid." Said the Lokal Zeitung, "her voice is most expressive, a fountain of flowing legato, with youthful, fresh voice." The Tageblatt said: "Both artists showed blend of voices of highest effect," while the Zeitung stated: "Miss Foerster was vocally and as actress simply grand in all she did; her fascinating voice has grown in volume and effectiveness since her former connection with the local opera house."
22Costanzi in Rome Passes Under Government Control
23Rome.—The Costanzi Theater has finally been ceded to the government and thus becomes a national institution. More artistic and worthy performances are expected as a result of the change.
24D. P.
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