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Musical Courier 1927-01-13: Vol 94 Iss 2, 1927
61 lines. Read by computer on 27 September 2026. No printed page number was found. See the scan on archive.org.
1MOZART'S DON GIOVANNI SUCCESSFULLY REVIVED BY THE CHICAGO OPERA
3Receipts for New Year's Eve Performance Break All Auditorium Records—Traditions Ignored, and Many Errors Noted, But Audience Is Delighted
5CHICAGO.—W. A. Mozart's two-act opera bouffe, the book by Da Ponte, was revived as a New Year's Eve offering by the Chicago Civic Opera, and if all that we have heard be true, the receipts for that evening were very close to twenty thousand dollars—a record for the Auditorium. Not wishing to be called an old fossil—a sobriquet that we do not as yet deserve—we will not express our opinion regarding the futuristic and cubist scenery that really pleased our eye, even though it was, in our estimation, totally unappropriate for a Mozart masterpiece. Nor will we spend time condemning the electrician for flashing the spotlight on the various principals as they do in vaudeville houses or theaters that harbor comic opera companies. Neither will we go into a discussion concerning the costumes of the principals; they, too, pleased our eye even though they were absolutely incorrect. American audiences do not give a rap for so-called tradition. No one cares how the principals were dressed when the opera was first performed in 1787 at Prague. American audiences want to be entertained and they were lavishly entertained by the Chicago Civic Opera, as the management had given carte blanche to its stage, scenic and technical directors and they produced such incongruities as to deserve the harshest criticism of those who believe that a classic such as Mozart wrote should not be vested a la Ziegfeld of Follies fame, nor garbed a la George White of Scandals renown. Even the lavish Shubert and the eccentric Woods could not have done better than the Chicago Civic Opera in making the presentation meritorious from a scenic point of view, but Mozart must be sung and not made a panoramic opera.
7If the eye was shocked and pleased, the ear often rebelled at the treatment given the score by several of the principals, and it seemed as if some of the tempos taken by Giorgio Polacco were too slow. Rosa Raisa, even though she wore as instructed, crinoline dresses, sang so well throughout the evening that we really forgive her for not wearing mourning after her father, the Commendatore, was killed by Don Giovanni. Raisa knows Mozart, and throughout the evening she was incontestably the star to whom the public reacted as a man, and even the scenery and her costumes could not detract from her remarkable performance, which places her a notch higher on the ladder of fame. Associated in the success of the night must be singled out, too, the Don Ottavio of Tito Schipa. The musical treat of the evening was his singing of Il mio tesoro. We have heard the difficult aria often, but seldom, if ever, better rendered. The stupendous applause that came from every corner of the house at its conclusion called the singer time after time before the curtain and Schipa won many new admirers among those who understand the art of singing and those who know Mozartean tradition. His Don Ottavio could not have been improved upon. It stands out as an artistic and vocal gem.
9Edith Mason was delightful as Zerlina. She sang gloriously, acted the part with vivacity, good humor and was sufficiently funny to bring ripples of laughter from her auditors. Louise Loring sang very well the music written for Donna Elvira, but her acting left much to be desired. Probably she followed instructions received from the stage manager and by so doing was a victim of poor judgment. Miss Loring has a beautiful voice, which she uses with consummate artistry, and when taught the mise-en-scene of Donna Elvira, she will find the role one of the best in her repertory. Alexander Kipnis was highly satisfactory as the Commendatore; likewise Trevisan as Masetto, even though the costume and the wig that the latter received from the Chicago Civic Opera wardrobe made one feel that he needed a haircut; and that his clothes were a little too small, especially around the waist.
11Recalling to memory the many Don Giovannis that we have heard, we could not necessarily be impressed by that presented by Vanni Marcoux, who, after an absence of several years, rejoined the Chicago Opera in a role that requires a fine singer, a baritone with a luscious voice—but alas! today Vanni Marcoux depends solely upon his action and on his remarkable diction to win praise. This might be sufficient in some parts, but not in a Mozart opera. We did not care at all for his rendition of the Serenade, nor, as a matter of fact, for any of his singing. Handsome, knowing the theater from A to Z, he made a splendid appearance and won the hearts of the gentle sex.
13The difficult role of Leporello was entrusted to Virgilio Lazzari, a basso that we have admired in many roles, but who was miscast in a part requiring a lovely voice, which Lazzari has not. His voice is rather cavernous, well fitted for Archibaldo in L'Amore dei Tre Re, the Cardinal in La Juive, Don Basilio in The Barber and other roles so far entrusted to this gifted artist.
15There were so many stage errors that space forbids mentioning them, even though more than one brought hilarity and proved again that between the sublime and the ridiculous there is but one short step. It was, on the whole, a performance that delighted the vast audience and the majority of our critics, but was looked upon dubiously by those who know how Don Giovanni should be done.
17OTELLO, JANUARY 2 (MATINEE)
19Otello was repeated with the same cast heard previously, and once again Charles Marshall scored success in the title role. Well deserving special mention was the Desdemona of Eleanor Sawyer, who, completely recovered from her recent indisposition, sang with great feeling and beauty of tone, and won an ovation after the Ave Maria in the last act in which the note of pathos and simplicity rang so true as to make a very deep impression on the listeners. Miss Sawyer is a happy addition to the soprano department, and her success on this occasion was richly deserved.
21TRAVIATA, JANUARY 3
23One of the most satisfying operas produced at the Auditorium this season is Traviata. This due to the fact that every principal is excellent, and, inasmuch as in operatic matters the singers are entitled to seventy-five per cent in the success of a performance, the cast under review scored one hundred per cent, as there was not one single flaw to mar the perfect ensemble. Once again Muzio enthralled her listeners by her beautiful rendition and singing of the role of Violetta, in which today she reigns supreme. Tito Schipa repeated his impeccable rendition of the music given to Germont, Jr., and Richard Bonelli sang the role of the father with eloquence and acted with conviction and nobility.
25The score had a beautiful reading under the poetic baton of Roberto Moranzoni.
27TOSCA, JANUARY 4
29For many years this reviewer has been known as one of the many Mary Garden "fans." To us she was the ideal actress-singer of our generation. We loved her in everything, be it Melisande, Thais, Louise, Carmen, Cleopatre, Fiora, Katinka, Marguerite and every other role that she ever undertook, including Tosca. Every role she essayed was a masterpiece, so that a few years ago we would have jumped to her defense had any one criticised "Our Mary," as we always found her above criticism. Years, however, have crept on for Mary Garden as for every one else. We were quite young when she made her debut in opera and ever since then have watched her ascending star throughout her long and admirable career. We recollect her triumphs in Paris as well as with the Manhattan Opera under Hammerstein in New York, her debut with the Chicago-Philadelphia Opera Company, and will always cherish in our memory the many thrills her art gave us in the past. Thus, it is only after long meditation, mingled with sincere regret, that we now review her Tosca as presented at the Auditorium on January 4, 1927.
31Yes, we note the date, as it will make history in the life of Mary Garden, as June, 1815, did in that of the great Napoleon. The latter found his Waterloo in the middle of June, 1915, and Garden, in the beginning of 1927 found her first defeat as Tosca. True, she had often sung the part, but true, too, Napoleon had fought many battles in his youth that brought him fame. At Waterloo he no longer was young and the toll of years brought him defeat as quickly as the army under Wellington and Blucher. Garden, too, is no longer a very young woman. Her birthday will soon be celebrated and we are too gallant to write how young she really is; but age will tell with or without make-up. Racine wrote it long ago, "Pour réparer des ans l'irréparable outrage," and all of us should be ourselves instead of trying to be what we once were. If such were the case, the world would be better and great talent would never suffer defeat nor know regret. It is better for a famed artist to renounce juvenile parts when in the early forties rather than to be told to let some one else be cast in a role no longer in the make-up or in the voice of the artist. Garden is great in some roles—so great, indeed, that her Tosca by comparison impressed as only mediocre, and this is written with remembrances of the past, for, if a young singer of today were to sing and act as poorly as Garden did we would not be slow in calling the performance altogether bad. Vocally, Garden sang passably well here and there, but we have in our company Muzio and Raisa who have Tosca in their repertory and who find the role well fitted to their voice. One goes to the opera, after all, to hear singing, as symphonic music is to be heard elsewhere. Thus, singers must sing. If they don't they must be classified as actors, and we have our doubts if those so-called famed actors and
33GALLI-CURCI THRILLS A CAPACITY AUDIENCE AT METROPOLITAN OPERA
35Celebrated Diva Makes Her Annual Opera Debut in New York and Again Offers Superb Performance as Violetta in Traviata—An Excellent Cast
37There is one annual event which can be counted upon to crowd the Metropolitan Opera House to the doors and that is the annual return of Mme. Galli-Curci. Wednesday evening of last week, January 5, was no exception. Every seat was full, and the standees were as closely packed in as the proverbial sardines. And all who were there were highly rewarded in what the prima donna had to offer them.
39The part was Violetta in La Traviata, one that she has made especially hers, and the popular prima donna was at her best. In the first act she seemed a trifle nervous—and who would not be on the occasion of an annual operatic debut,—for Mme. Galli-Curci nowadays appears in opera nowhere except at the Metropolitan? She sang with considerable caution through that act, but everything went well and her self-assurance was quickly restored. She sang with warmth and freedom in the remaining acts. In fact, by the time she had reached Sempre Libera she was already very close to her best. The coloratura passages were smooth, even, clean cut and seemed surer than ever before. As for the accusations of an occasional sagging from the pitch, they were not to be sustained Wednesday evening. A critical ear could detect nothing but the most flawless intonations, even when she was carried to the very upper extreme of the soprano range. The voice itself was in fine condition. It sounds healthy throughout. From top to bottom it is even as can be, though the rich, warm tones of the middle register are, as they always have been, its warmest and best part. She is complete mistress of her vocal resources and has the good sense never once to force her voice.
41Mme. Galli-Curci was most becomingly gowned and looked extremely well. She has played the role of Violetta so many times that she has made it quite her own and gives it a distinct and pity-arousing impersonation.
43Gigli was the young lover. He has a beautiful voice and sings beautifully, but of late he has developed rather a tendency towards ranting in his acting. There was quite a bit of Canio mixed in with his Germont, Jr. He was a bit too boisterous to be the true son of the aristocratic and dignified personage which Dr. Luca made out of Germont, Sr. His performance was worthy of the occasion and of the veteran baritone himself.
45Tullio Serafin threw himself enthusiastically into the business of directing a lively, vital performance. All the minor characters and the chorus gave their best. It was a notable evening and a great deal of enthusiasm on the part of the audience that could be distinctly distinguished from the loud noise made by the claque which had not been hired—needless to say—by Mme. Galli-Curci. At the end of the opera she was called repeatedly and came out smiling and bowing, with Mr. Gigli tagging on behind each and every time.
47Die Meistersinger, January 3
49The fourth performance of Die Meistersinger was given on Monday evening, January 3, under the direction of Artur Bodanzky. Friedrich Schorr, that sterling baritone, made his first appearance of the season with the company, singing a beautiful Hans Sachs. Florence Easton as Eva covered herself with glory, and what a superb artist she is! No matter what the role may be, Miss Easton is certain to give an impersonation of high artistic merit. Curt Taucher is always an intelligent Walter. Paul Bender, a splendid Pogner, was making what was probably his last appearance with the Metropolitan. The rest of the cast was familiar and satisfactory to the point of making the performance a capital one.
51LOHENGRIN, JANUARY 6
53Lohengrin was given for the fourth time this season at the Metropolitan on January 6 with the same cast as before. King Henry was William Gustafson, who has developed into a very fine artist, American and American trained—he got his entire opera routine at the Metropolitan. Lohengrin was Curt Taucher, handsome and impressive. Elsa was the magnificent Florence Easton, whose portrayal of the role is splendid both vocally and histrionically. Friedrich Schorr's powerful voice and striking dramatic power made the role of Telramund forceful and interesting. Matzenauer was a tragic Ortrud. Lawrence Tibbett's forceful utterance made the difficult and ungrateful role of the King's Herald bearable—which is high praise. The entire performance was splendid—full of life and passion. Surely Wagner had arrived at the height of his genius when he conceived and executed some of this music and the intensely dramatic scenes. Bodanzky conducted.
55AIDA, JANUARY 7
57Ina Bourskaya sang the role of Amneris for the first time this season in the fourth repetition of Aida on Friday evening, and she gave an unusually fine performance. She was in excellent voice and her general portrayal was quite on a par with the singing and acting of Martinelli and Rethberg, the Radames and Aida. Miss Rethberg's conception of the enslaved princess is too well known to need detailed comment except to say that she scored with the large audience. Martinelli sang his music with abandon and tonal power, receiving a particular ovation after his pièce de resistance in the first act. Danise was a familiar
59CARL HEIN AND AUGUST FRAEMCKE
60For twenty-three years directing the New York College of Music, one of the oldest established music schools in the country, which is approaching its fiftieth anniversary in New York City.
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