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Musical Courier 1926-07-08: Vol 93 Iss 2, 1926
94 lines. Read by computer on 29 September 2026. Printed page 10. See the scan on archive.org.
1A CHAT WITH ROBERTO MORANZONI
3Chicago Opera Conductor's Friends Help Him Along in Answering Interviewer's Questions—His Early Career—Favorite of Mascagni—Praises Alfano's Resurrection and Mary Garden in One of Her Best Roles—To Spend Summer in Italy.
5The "quintessence of modesty" is a term that might well be applied to Roberto Moranzoni, Chicago Civic Opera conductor, when it comes to talking about himself. Moranzoni always balks at the word "interview." His naturally serious face becomes more serious and he always endeavors to change the subject.
7"There are so many more pleasant things to talk about," he says. In this case the interviewer was just as persistent as Moranzoni was politely stubborn. Everything looked black for the moment; then followed a flash of light. Along came two of the conductor's best friends—Rosa Low, the charming soprano, who coaches with him off lighting a fresh cigarette. "That is something of which to be justly proud."
9"At that time Mascagni was writing his new opera, Le Maschere, and he appointed me his assistant to prepare the work for him. When he went to conduct its premier at the Costanzi in Rome he took me along. Incidentally of great interest here is the fact that the opera was given on the same night for the first time in seven different opera houses: in Rome, Milan (La Scala), Venice, Turin, Genoa, Verona and Naples. After the opera's second performance, Mascagni went to Milan for the funeral of Verdi, and left me to take up his baton. Then it was that I really started my career."
11After his engagement at the Costanzi, Moranzoni conducted also in the following places: Milan, Turin, Bologna, Venice, Rome, Trieste, Bucharest, and other cities in Roumania.
13"Then in 1910," Moranzoni continued, "I was called to the Boston Opera Company where I remained for four years, also going on tour with Rabinoff for two years. The Metropolitan Opera next claimed my services for seven consecutive seasons, and, as you know, I have just concluded my second one with the Chicago Civic Opera."
15"Of course," suggested Sturani at this point, "you have heard of the great success of Alfano's Resurrection in Chicago last season. Moranzoni conducted its premiere—"
17"I know that," replied the writer, "and much of the credit is due him, I understand."
19"Not at all," he was quick to disagree. "It was due to and on when he is in New York, and his countryman, Cesare Sturani.
21"Moranzoni isn't talking about himself, is he?" exclaimed Sturani in surprise.
23"Not yet!" replied the nevertheless expectant writer.
25"I've got it," said Moranzoni, jumping up from the comfortable sofa, "interview Sturani about me, if you like."
27"Fine idea," seconded Mrs. Low.
29Sturani balked this time; then he asked: "Has he told you he was the favorite of Mascagni?"
31"That's a good point," the Musical Courier representative said, jotting it down. "Now just how?"
33"Tell her, Maestro!" urged Mrs. Low, all interest.
35Moranzoni frowned, sat down again on the sofa, and fairly blurted out: All right then!
37"You see, I have always disliked interviews because usually one is asked questions that one cannot answer without complications arising, and then you rarely see in print what you have really said."
39"Let's start from the beginning," urged the writer. "How did you come to choose conducting as a career?"
41"I always wanted to conduct—even as a child," he said. "You see my father was a military bandmaster in Venice, where I first began the study of violin under Tirindelli. . . ."
43"You mean Pier Tirindelli, formerly of the Cincinnati Conservatory?"
45"Yes, the same charming gentleman and excellent musician. I worked with him in Venice, at the same time taking piano from a very good old man. Then my father's regiment was ordered to Alexandria. The family went along, and my training was interrupted for a time, until I could find a good teacher."
47"How old were you then?" asked Mrs. Low.
49"About twelve or thirteen. After a while I attended a small conservatory there, taking counterpoint with a Mr. Cicognani. When he was appointed teacher at the Conservatory of Mascagni in Pesaro he took me with him and there I continued violin under Professor Frontali, studying composition with Mascagni and Mattioli. A classmate of mine there was Zandonai, whose Francesca da Rimini I had the privilege to conduct at Milan." He hesitated, and then with a shrug of his shoulder, added: "There is nothing more to say except that I graduated in both violin, piano and composition."
51"Tell about Mascagni's interest in you," supplied Sturani, and I conducted it there and all over the country when the company went on tour before I left for Paris."
53"And at the Metropolitan, too?"
55"Yes."
57"Where are you going?"
59"I am going first to Paris on business, and then to Varese."
61"Will you conduct in Paris during the summer as you did last year?"
63"Maybe, but at present everything is uncertain."
65"How do you spend your vacation?" asked the writer.
67"Mountain climbing," Sturani answered for Moranzoni.
69"And waiting for Sturani to join me," Moranzoni winked.
71"Well," his genial colleague reported, "I might at that. I haven't been home in years and it certainly will seem funny when I do go back to see all the changes."
73"When do you return to America, Moranzoni?" asked the writer, thankful that a little interview had really been secured.
75"In September or October, to resume my duties with the Chicago Opera."
77"I hope you have a wonderful summer and thank you for being so good about this interview."
79"If you got anything that will interest the public you have done well. What the public expects of an artist is often so different from what one would expect that I can't think that any of it would make good reading."
81In conclusion it must be added that Moranzoni's modesty is not assumed, as is the case with some artists. It is genuine, and refreshing, indeed, in these days of "crying one's own merits."
83John Bland Artist in Rome
85Grace Romea Casalini, soprano, pupil of John Bland, appeared in recital in Rome with success. Ellery Allen, mezzo-soprano, will be heard in concert during the coming season; Miss Allen has been studying for the past two years with Madame Vannini in Florence, but has returned to Mr. Bland, her former teacher. Theodore Garrison, artist-pupil of Mr. Bland, has been appointed tenor soloist of Calvary Episcopal Church, New York. Mr. Bland's studios will be closed from July 15 to September 15.
87Ernest Davis Praised as The Duke
89Ernest Davis scored a decided success when he appeared recently as the Duke in Rigoletto with the Cincinnati Zoo Opera Company. According to the Cincinnati Tribune, "Ernest Davis is a born singer of Italian opera. Cast as the Duke, he had abundant opportunity to display his brilliant powers of vocalization and he certainly made the most of it. His upper register is beautifully clear and under perfect control." Equally enthusiastic was the critic of the Enquirer, who stated: "Both in voice and appearance, Ernest Davis is excellently fitted for the role of the dashing and debonair, though perfidious, Duke. His rendition of the Donna e Mobile aria was one of the high spots of the performance." The Cincinnati Times Star noted that "Ernest Davis scored a great success as the Duke. His glorious tenor voice soared triumphantly with every climax, and his commanding personality won the audience from the start." "The Duke of Mantua," said the Cincinnati Post, "as sung by Ernest Davis, revealed the lyric quality that such numbers as the La Donna e Mobile demand."
91Red Cross Decorates Jeritza
93VIENNA.—The Austrian Red Cross has bestowed its golden medal upon Maria Jeritza in recognition of her charitable activities for that society. Intendant Dr. Prüger of the Austrian state theaters personally handed the decoration to the singer.
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