Books › Musical Courier 1927-04-07: Vol 94 Iss 14, 1927 › scan 20
Scan 20
Musical Courier 1927-04-07: Vol 94 Iss 14, 1927
79 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 21. See the scan on archive.org.
1ANNA DUNCAN,
2who will give her only New York dance recital this season at the Guild Theater on Sunday evening, April 24. Miss Duncan recently returned from Rochester, where she fulfilled a three weeks' engagement dancing and teaching at the Eastman School of Music. (Photo by Nickolas Muray).
4he gave a fiery and highly dramatic flavor to the Credo, from Verdi's Otello.
6The English group included two songs in manuscript, Let Lions Roar, by R. F. Hesse, and Lazy, by G. G. Davis; Goin' Home, a Negro Spiritual; and examples from Frances Allitsen, and Deems Taylor.
8Herbert Carrick was at the piano, and accompanied with accuracy and art.
10New York Symphony: Goldsand, Soloist
11At Mecca Auditorium, the matinee audience were told that Walter Damrosch was indisposed and resting, and that Rene Pollain would conduct the program, which was the same as at the previous Thursday concert, with the exception of the present appearance of Robert Goldsand, the young pianist from Vienna. Mr. Pollain performed his baton duties ably and successfully.
13Goldsand (a pupil, by the way, of Mrs. Moriz Rosenthal) played Liszt's Hungarian Fantasy, with orchestra, and dazzled his hearers with a display of faultlessly brilliant technic, dashing rhythm, and varied manipulations of a singularly fine quality of tone.
15N. Y. Philharmonic: Louise Lerch, Soloist
16Brahms' Requiem was repeated at the Sunday afternoon concert in the Metropolitan Opera House, but Louise Lerch, of that institution, replaced Elisabeth Rethberg who had sung the soprano part previously. Miss Lerch acquitted herself with great credit, her agreeably timbered voice and musical manner of performance being admirably adapted to the affecting music.
18Wilhelm Furtwaengler again gave a profoundly moving reading of the great choral work.
20This appearance marked Furtwaengler's farewell in New York, and he was given a rousing demonstration of admiration and affection. After the end of the concert, most of the auditors remained long and recalled the conductor time after time. He was visibly touched, but merely bowed his grateful acknowledgment, and did not make a speech, as at Carnegie Hall, on the Thursday before.
22Flonzaley Quartet Sails
23As though to make its farewell appearance this season as far-reaching as possible, the Flonzaley Quartet played its last concert of the season in the Victor Hour that was broadcast over WEAF on March 11. The Quartet sailed the following day for Europe—Messrs. Betti, d'Archambeau and Moldavan on La France and Mr. Pochon and family on the Cedric. The members of the quartet will play their spring tour in London and the provinces, proceeding then to the continent, where they separate for a few months, meeting again in August at the summer home of Mr. Pochon on Lake Geneva. Here they will put in an intensive two months of practice on their programs for their twenty-fourth season in America.
25Schalk Discovers a Marvellous Czech Coloratura
26VIENNA.—The most recent vocal sensation of Vienna is Jaromila Novotna, a young Czech coloratura soprano whom director Schalk discovered during his last visit to Prague. The young artist recently sang for the first time on the stage of the Vienna Staatsoper, and created such a deep impression that director Schalk immediately engaged her for a term of years. Prior to beginning her activities with the Staatsoper, she has gone to Milan to finish her vocal study—at the expense of the Vienna Opera, it is said. P.
28MUSICAL COURIER
29CHICAGO OPERA MUSICIANS GET PAY RAISE
30Through Manager Herbert Johnson, a two-year contract with the Chicago Civic Opera Company and the Chicago Federation of Musicians was signed last week providing wage increases for members of the opera orchestra. The terms of the contract stipulate that the average wage of the musicians would be raised from $132 weekly to $150 for the first year, and from $150 weekly to $162 during the second year. Some of the musicians will receive more. This new schedule provides (for the first year) $15 a performance, $5.50 for rehearsal, and (for the second year) $16 a performance and $6 for rehearsal. Salaries for preliminary rehearsals before the season were raised from $90 to $100 a week. Members of the stage band will receive $13 and $14 a performance instead of $12.
32To date, officials of the Chicago Symphony Orchestral Association and the Musicians' Federation have been unable to hold their annual conference as to the wage scale of the Chicago Symphony Orchestra. It is learned that Vice-President Horace Oakley stated that if the demands of the Union are too great and the wages too high it may be necessary to reduce the symphony orchestra from ninety players and that he believed Conductor Stock would not stay with an orchestra of less than seventy-eight members, which would be a deplorable outcome, indeed.
34METROPOLITAN OPERA
35MIGNON, MARCH 28
36The third performance of the revived Mignon was presented at the Metropolitan on March 28, with Bori in the title role, Gigli as Wilhelm Meister, and Talley as Filine. Miss Bori gave a fine portrayal of her part and her singing as always was a genuine treat. Gigli, in splendid voice, again upheld his reputation as a great artist. Both received an ovation. Marion Talley's rendition of Je Suis Titania proved admirable and won her well deserved applause. Her agility work was clean and clear, and her tone sympathetic and brilliant. Others in the cast were Clarence Whitehill, Ellen Dalossy and Messrs. Bada, D'Angelo and Ananian. Hasselmans conducted.
38DIE MEISTERSINGER, MARCH 30 (MATINEE)
39Maria Mueller looked beautiful, indeed radiant, in the final scene of Die Meistersinger, March 30 (matinee); Walter Kirchhoff sang, acted and looked the name-part, and Michael Bohnen's vigorous acting, full of warm sympathy, with a tremendous voice to back it all, was duly applauded. Kathleen Howard's Magdalene and Gustav Schuetzendorf's Beckmesser were high lights in the performance, the latter winning many laughs for his comical appearance and vocalization. George Cohanovsky (Kothner) has, during this, his first season, proved himself a most dependable young artist, and with Leon Rothier, filled their parts delightfully. The ever reliable George Meader (David) looked and acted well, and other parts were taken, as before, by Max Bloch, Angelo Bada, Max Altglass, Giordano Paltrinieri, Louis D'Angelo, Paolo Ananian, James Wolfe, William Gustafson and Arnold Gabor. Conductor Bodanzky subdued his orchestra when required and the mob scene was well regulated. At the close, principals Mueller, Kirchhoff, Bohnen, and Conductor Bodanzky were repeatedly called before the curtain.
41FAUST, MARCH 30
42A repetition of Faust on March 30 gave great pleasure to the usual large audience, and well it might with Chaliapin giving his sinster performance of Mephistopheles, Queena Mario singing and looking charming as the unfortunate Marguerite, and Tokatyan giving an excellent portrayal of the Duke. Hasselmans conducted.
44AIDA, MARCH 31
45Aida was given its next to last performance on March 31, with Marie Mueller in the principal role, and Karin Branzell as Amneris. Both gave performances of distinction. Fullin san Rhadames, Pinza's rich voice was heard in the music of Ramfis, and Basiola, despite the sad news of his mother's death, took his scheduled role of Amonasro. Serafin conducted.
47LA GIOCONDA, APRIL 1
48The cast for La Gioconda on Friday night was well matched and their combined voices and acting ability resulted in one of the best performances of this opera heard during the season. Frances Peralta sang the title role; her rich and powerful voice is suited admirably to the part and she gave a notable performance, looking extremely well. Gigli, the Enzo, sang with abandon and verve, winning the house after his big solo in the second act. Julia Claussen made a handsome Laura and sang well, as she has been doing at each performance this season. Rothier was the Alvise and Henrietta Wakefield a sympathetic La Cieca. Nor must one forget the Barnaba of De Luca. Serafin gave the score a worthy reading, keeping singers and his orchestra well in hand.
50THE KING'S HENCHMAN, APRIL 2 (MATINEE)
51That The King's Henchman continues to win favor with New Yorkers was evident last Saturday afternoon when a large audience gave vent to its pleasure in no uncertain terms with enthusiastic applause. As usual, the outstanding portrayals were given by Lawrence Tibbett, Edward Johnson and Florence Easton. Serafin conducted.
53SIEGFRIED, APRIL 2
54Siegfried was the popular Saturday night attraction with a cast that made the performance one of merit. Rudolf Laubenthal was the hero of the evening and sang better than usual. His tones were well produced and he sang with an authority that made his essay enjoyable. Clarence Whitehill's Wanderer was an outstanding feature of the opera, while Nanny Larsen-Todsen as Bruennhilde and Marion Telva as Erda contributed singing of an excellent calibre. Gustav Schuetzendorf was a commendable Alberich. Editha Fleischer sang the Voice of the Forest Bird, while other parts were entrusted to Max Bloch and James Wolfe. Bodanzky conducted.
56SUNDAY NIGHT CONCERT, APRIL 3
57The weather jinx interfered with the schedule on Sunday night at the Metropolitan, putting Armand Tokatyan, Marie Tiffany and Marcella Roesler on the sick list, and bringing as substitutes Editha Fleischer and Alfio Tedesco. Other artists contributing to the evening's pleasure were Frances Peralta, Marion Talley, Charlotte Ryan, Dorothy Flexer, Marion Telva and Mario Chamlee, George Meader, Mario Basiola and William Gustafson, with Paul Eisler conducting.
59Whitmer and Yost Play Contemporary Music
60T. Carl Whitmer, pianist, and Gaylord Yost, violinist, gave a recital of contemporary music in Carnegie Lecture Hall, Pittsburgh, Pa., on April 4. The program included one work heard in America for the first time—Hermann Reutter's sonata for violin and piano, Op. 20—and two played in Pittsburgh for the first time—Respighi's sonata in B minor and Eugene Goossens' sonata for violin and piano, op. 21. Works played at previous recitals of contemporary music by Mr. Whitmer and Mr. Yost include sonatas by Bela Bartok (first and second), Medtner, Pizzetti, Bloch, Milhaud, Honegger, Korngold, Tailleferre, Roussel and Delius.
62GREENSBORO, N. C.
63"DAILY NEWS" Jan. 25, 1927
64FREDERICK GUNSTER DELIGHTS AUDIENCE
65COMBINATIONS ARE RARE
66(By MRS. A. P. NOELL)
67Frederick Gunster, tenor, appeared in a recital at Elon college last night which added new laurels to his brilliant career.
68In the art of Frederick Gunster are found the rare combinations of gifts that entitle him to rank as a distinguished lyric tenor of the exalted concert stage of today.
69To lovers of tone, for tone's sake, his voice reveals such sweetness, purity and warmth, as to merit the envied reputation of "a golden voice." Those delighting in technique marvelled at the perfect control of a voice of broad range, the masterly skill and ease throughout the varied difficult demands of his selections. To the most discriminating critic, there was evidence of intelligent interpretation because of the high quality—of that marked personality.
70For the last group of Negro Spirituals and melodies, Mr. Gunster appeared in the costume of the period 1855-60. Instead of the customary type of the cotton picker, his role was that of the highly respected old negro who worked about the house, clothed in the cast off finery of old Massa. From the moment he appeared in the light trousers, long tailed coat, and high silk hat, a perfect make-up—he entirely lost himself and became the character his great dramatic powers revealed so vividly. In the swinging rhythm and the quaint, humorous or pathetic sentiment, his exquisite voice revealed new beauties and his acting and artistry were wonderfully appealing.
72(no line here) one of two readings
73Management: RICHARD COBLEY
7410 East 43rd St., New York
76TENOR
77Chicago Civic Opera
78Management: Harry and Arthur Culbertson, Aeolian Hall, New York. 4832 Dorchester Ave., Chicago
The computer misreads some letters and numbers. Where a name matters to you, read the scan.