Books › Musical Courier 1927-01-06: Vol 94 Iss 1, 1927 › scan 36
Scan 36
Musical Courier 1927-01-06: Vol 94 Iss 1, 1927
145 lines. Read by computer on 27 September 2026. Printed page 37. See the scan on archive.org.
1January 6, 1927
3LISA ROMA
4SOPRANO
5Personal Address:
635 Park Avenue, New York
7Knabe Piano Used
9ROSEL BENDA
10SOPRANO
11CONCERT—CHURCH—RECITAL
12189 Claremont Avenue, Apt. 1, New York City
13Telephone 4478 Morningside
15ADALBERT OSTENDORFF
16PIANIST-INSTRUCTION
17Studio: 405 Carnegie Hall New York City
18Write for appointment
20O'C QUIRKE
21Voice Placement and Opera Class
22Address
23108 West 75th Street,
24New York Tel. 5880 Schuyler
26HARRIOT EUDORA BARROWS
27TEACHER OF SINGING
28Trinity Court, Boston
29Conrad Building, Providence
31MARY BENNETT
32CONTRALTO
33Recitals, Concerts, Oratorio.
34Mgt.: Richard Copley,
3510 East 43d St., N. Y. City.
36Personal address: 694 Madison Ave., New York
38KELLY
39Mr. and Mrs. Thomas James Kelly
40IN EUROPE 1926-1927
41Address BANKERS TRUST CO.,
42PLACE VENDOME PARIS, FRANCE
44MAESTRO BUZZI-PECCIA
45The Synchronic Vocal Method
46Complete at every step for Student and Singer
47Concert and Grand Opera
4833 West 67th Street
49Circular sent on request Telephone 9216 Susquehanna
51"I WISH to express to you my pleasure and satisfaction at having one of your splendid instruments for my personal use.
52"It is unexcelled in the beautiful quality of its tone."
54PAUL ALTHOUSE
55Formerly of the Metropolitan Opera Company
56KRAICH & BACH
57Grand—Reproducing—and Period Model Pianos
58237 East 23rd St. New York
5977 EAST JACKSON BLVD., CHICAGO, ILL.
60CATALOGUE AND PRICE LIST UPON REQUEST
62MUSICAL COURIER
63INFORMATION BUREAU
64REPLIES TO INQUIRERS
65Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
67CLOTHES
68P. S. W.—You ask if clothes have anything to do with the success of an artist. It hardly seems a subject to come under the head of music or musical information. Yet, it must be said that, as a matter of fact, clothes do have an influence, a great influence at times. In the days when all singers at either afternoon or evening concerts wore white kid gloves, the omission of these accessories to the toilet would have made a distinctly unfavorable impression upon the audience. Now the passing of that fashion would make a singer rather conspicuous if his or her hands were the most prominent feature of the costume. Then there was the question of whether a female singer should or should not wear a hat at an afternoon recital. It is a well known fact that years ago a singer who appeared each year with a well known organization, was thoughtless enough to appear a second year in the same evening dress. This was a great disappointment to the women of the city, for one expected to obtain the latest fashions in evening or day dress from women singers who appeared in their city. No one purchased their autumn or winter costume until after the autumn musical events. Attendance at a rehearsal was inexpensive, and tailor modes were in evidence on the "just from Europe" artists. The result of the appearance of the same dress two years in succession was that that special person never was engaged again to appear in that particular city. She may not have known why she was dropped, as up to that time her re-engagement each year proved her popularity. The disappointment to those who had paid dollars to catch sight of a new style of evening dress, right from New York, brought sufficient pressure upon the local committee to make it impossible for such a tragedy to occur again.
70HOW LONG TO PRACTICE
71T. W.—In your practising you should follow the advice of your teacher; that is what a teacher is for, to give advice that the pupil should follow. To criticise a teacher with whom you are studying is unfair to yourself as well as to the teacher. If you do not feel confidence about the lessons you are receiving, you are wasting your time in studying something you do not believe in. When you select a teacher, it is understood that you make what you consider the best choice for your own advancement in whatever you are studying. Students often are not fair to a teacher. Many act as if they thought the teacher was to do all the work, that personally they had no responsibility. Years ago when typewriters were not as prevalent as at present, there seemed to be a prevailing idea that the machine did the spelling for the operator. That such was not the case was a sad discovery to the ignorant, partially educated operator. No matter what instrument you are studying, it is necessary that many hours of practice be given each day. Nor does the practicing end with the stopping of lessons. Skilled musicians practice hours daily. Violinists walk about their rooms, continuously playing and working at their programs. Pianists occupy themselves for hours daily playing a phrase over and over again. This is true of all serious musicians. Do not think your teacher too strict in requiring hours of work from you. If dissatisfied with the person you are taking lessons from, there are others.
73Louise Hunter Scores in Baltimore
74Louise Hunter, Metropolitan Opera soprano, was soloist with the Baltimore Symphony Orchestra on November 14. It was a gala event, with standing room six deep and many celebrities present. The Baltimore American spoke in the following terms of Miss Hunter's work: "The choice of soloist was particularly happy. Miss Hunter, in addition to a charming personality, has a lyric voice of much tonal beauty and purity. It was heard to advantage in her solo numbers—the lovely aria from Traviata and the Polonaise from Mignon. The latter number is by far the more difficult but she was better in that because her placement lends itself to the French rather than to the Italian." And again, the Baltimore Sun praised the work of this popular singer when it said: "Louise Hunter proved herself a great attraction. Her voice is young, fresh and brilliant in quality, covering a large range, each note of which was achieved without any effort; in the opening number, Ah Fors e Lui, so attractive was her singing that new beauties were distinctly discernible. This, however, was but a prelude to the splendid singing of the Polonaise from Mignon. A lightness and vocal flexibility are possessions which the artist knows how to use to the greatest advantage. Her roulades and coloratura work in this number aroused warm applause from the audience which recognized that it was listening to a singer with enormous future possibilities."
76Bourskaya's Success in Washington
77Ina Bourskaya, mezzo-soprano of the Metropolitan and Ravinia opera companies, recently sang the role of the Countess in Pique Dame in Washington and Baltimore. Referring to her performance, the critic of the Baltimore Sun wrote: "Possibly the most outstanding presentation was that of Ina Bourskaya who sang the role of the Countess." The Evening Star of Washington had the following: "Ina Bourskaya was splendid in the role of Pique Dame, the Queen of Spades." Other reviewers voiced their opinion in a like manner, one writing: "Ina Bourskaya, in the role of the old Countess, conveyed the most convincing impression of the evening. Her acting was flawless, and created a distinct atmosphere, make her role that of a definite character." Another critic wrote: "Perhaps the finest bit in the entire production was furnished by Ina Bourskaya in the title role when the aged Countess is alone in her boudoir in the second act, singing a lovely and simple song as she starts to sleep."
79George Liebling in the East
80George Liebling, pianist, who has been enjoying the holidays in the East, begins the New Year with a tour of Ohio, which opens on January 8.
82YEATMAN GRIFFITH Voice
83TEACHER OF FAMOUS ARTISTS AND OF TEACHERS
84Studios 52 W. 70th St., New York City Tel. Endicott 8144
86BOWIE Voice Placement
87COMPLETE PREPARATION FOR OPERA, CONCERT OR CHURCH
88Trafalgar 9269 307 West 79th St., New York
90U. S. KERR BASS BARITONE
91RECITALS IN ENGLISH, FRENCH, ITALIAN AND NORWEGIAN
92561 West 143rd Street, New York City. Tel. 6478 Edgecomb
94ROXAS Coach and Accompanist to MARTINELLI
95for six years
96Studio: Steinway Bldg., 109 West 57th St., N. Y.
97Phone Circle 6161
99Walter Henry Hall
100Professor of Choral Music,
101Columbia University
102Address 39 Claremont Ave.
104William S. BRADY
105TEACHER OF SINGING
106Studio: 137 West 86th St., New York Tel. Schuyler 3580
108MARIE SUNDELIUS Soprano
109With the Metropolitan Opera Co.
110Exclusive Management: HAENSEL & JONES
111Steinway Hall 113 West 57th Street New York
113GIUSEPPE BOGHERTI OPERATIC and CONCERT TENOR
114Graduate of Conservatory of Music MILANO, ITALY
115Vocal Studios: 1710 Chestnut St., Philadelphia, Pa.
11613 East 39th St., New York N. Y. Tel. Caledonia 2777
118DOROTHEA FLEXER CONTRALTO
119Metropolitan Opera Company
120Management: R. E. Johnston, 1451 Broadway, New York
122Edwin Franko Goldman CONDUCTOR THE GOLDMAN BAND
123"A Symphony Orchestra in Brass"
124Personal address: 202 Riverside Drive, New York
126HEMPEL
127Concert Management BALDINI & TREMAINE
128Suite 617, Steinway Hall, New York
129Steinway Piano Edison Records
131WURLITZER
132World's Fore-Most Piano Manufacturers
133120 W. 42nd St., New York
135Frank T. Kintzing presents
136THE WORLD FAMOUS JAPANESE SOPRANO
137TAMAKI MIURA
138As Guest Artist in Puccini's
139"MADAM BUTTERFLY"
140and in the New One-Act Japanese Opera
141"NAMIKO SAN"
142By ALDO FRANCHETTI
143On Coast to Coast Tour Season 1926-27
144Address FRANK T. KINTZING, Steinway Hall, N. Y. City
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