Books › Musical Courier 1927-04-28: Vol 94 Iss 17, 1927 › scan 45
Scan 45
Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
57 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 46. See the scan on archive.org.
1MUSIC IN MILAN
3Milan.—At La Scala, during the week ending March 20, were repetitions of Madame di Chalant, Rosenkavalier, La Boheme, and, on March 17, the season's first performance of Lucia was given. This was one of the biggest events of the La Scala season, Toscanini making his first appearance since his return from his New York engagement with the Philharmonic Orchestra. The house was completely sold out, and the maestro received a rousing welcome. As he entered, both audience and orchestra arose and gave him an enthusiastic demonstration of genuine devotion which lasted several minutes. He received and acknowledged the ovation with much emotion. The cast was an all-star one, Toti Dal Monte singing the role of Lucia after an absence of several seasons. It can be said that her interpretation is one of the greatest of the present day. Her mad scene is unsurpassable. The huge audience wildly applauded the opening scene, at the close of which she was recalled again and again. In a word, this great soprano won a new triumph at La Scala. Aureliano Pertile was the Edgardo, undoubtedly one of his best roles. Not many tenors of the present day can reach his standard in this role. Benvenuto Franci, as Sir Ashton, fills the picture, and his beautiful, fresh voice rings out true and forcefully. He sang superbly the aria of the first act, Crude è funesta smania, and received much applause. The other roles were competently filled; scenery and costumes were superb, and Toscanini's reading of this beautiful score cannot be surpassed. It was an evening of real enjoyment and holds the honors of the season.
5During the week ending March 27 there were repetitions of Lucia and the double bill of Pagliacci and the ballet Petrouchka, Carlo Morelli appearing as Tonio in Pagliacci for the first time this season. He sang the prologue artistically and with abundance of voice, being heartily applauded; he continues to gain in popularity, and is one of La Scala's most dependable artists. Within three weeks he has appeared in three important roles: Escamillo in Carmen, Count Masino in Madame di Chalant (which role he created), and Tonio in Pagliacci. Luigi Celli, La Scala's primo ballerino, an Italian-American from Chicago, danced the principal character role of the Stravinsky Ballet for the first time at La Scala. Last season he danced the Character of the Moor in the same ballet. He displays much agility, grace and style. His artistic ability was enthusiastically applauded by the huge audience. Cia Fornaroli, the dainty prima ballerina, was also received with enthusiasm.
7On March 24 Gioconda was presented with an excellent cast. Giannina Arangi-Lombardi, in the title role, gave an acceptable interpretation; her last act was especially worthy of mention. Ebe Stignani made an exceptionally fine Laura. Luisa Bertana sang well the role of La Cieca. Francesco Merli was the Enzo; his voice still shows traces of his recent illness, but he sang the Cielo e Mar artistically and with credit. Tancredi Pasero was not at his best in the role of Alvis. Benvenuto Franci as Barnaba carried the honors among the artists, his solo in the first act and the barcarolle of the second, bringing him bursts of spontaneous applause. Toscanini carried the main honors of the evening. His reading brought out to perfection all the beautiful melody of the score, his interpretation of the Furlana and The Dance of the Hours were marvels of enjoyment and each received an enthusiastic ovation. Scenery and costumes were exquisite. The attendance was large. The opera started at 8:30 and it was long past midnight when it finished. Toscanini beginning his sixtieth year as an orchestra conductor with the last act of La Gioconda, which began at midnight and thus ushering in his sixtieth birthday. At the close of the opera many of his personal friends, music devotees, artists and admirers awaited him on the stage to wish him many returns of the day.
9On March 26 the season's first performance of Rigoletto was given with Toscanini again at the helm, this making three operas rehearsed, staged and conducted by him in less than two weeks. Toti Dal Monte again triumphed in the role of Gilda, singing superbly. Her Caro Nome was a work of art. Carlo Galeffi, in the title role, one of his happiest, was in splendid voice and gave a rare interpretation. Roberto D'Alessio, as the Duke, made an elegant appearance. His phrasing at many points was excellent, but vocally he lacked volume for a house the size of La Scala, and the quality of his voice is not always sympathetic. Luisa Bertana, in the role of Maddalena, and Carlo Walter, as Sparafucile, completed the principals. The minor roles were competently filled. Toscanini, as always, gave a most enjoyable reading of this delightful score.
11During the week ending April 3 there were repetitions of Rigoletto, Lucia, Gioconda, and the third and last performance of Madame di Chalant.
13AT THE TEATRO CARCANO
15The popular Teatro Carcano, which has been leased for a long term of years by the Pittaluga Film Corporation, began a farewell opera season of one month on March 17. This season was organized by the Sindacato Artisti Lirici, as a benefit for its many unemployed members, owing to the music crisis this year. Most of the world's famous Italian celebrities have appeared at this popular opera house early in their careers, including Galli-Curci, Tetrazzini, Schipa, Battistini, Bonci, Stracciari, Titta Ruffo, and numberless others. Now, as a fitting close, most of the prominent artists at present in Italy have agreed to sing one or more performances during this brief farewell season. The opening opera was The Girl of the Golden West with Veglione-Borghese in his famous impersonation of the Sheriff. The second opera given was La Favorita; the third La Boheme, with Aureliano Pertile as Rodolfo (by special permission of La Scala for one performance), the charming Carmen Melis singing Mimi (one of her best impersonations), and Aristodemo Giorgini coming from his home in Naples to sing the role of Rodolfo in the succeeding performances of Boheme. (He was in magnificent voice, singing with marvelous interpretation, and meeting with an enthusiastic reception). The fourth opera given was Ballo in Maschera, Bonci being the great feature. At his first performance, given March 30, the house was completely sold out, an audience far above the average being present to hear this genial artist. At his entrance he received a welcoming ovation which held up the action several minutes. The great tenor was much moved at this sincere token of affection. Bonci once more portrayed the role of Riccardo in perfect style, full of passion. A master of bel canto, its technic holds no secrets from him. The exquisite taste with which he renders the difficult E' Scherzo od è Follia is unsurpassable. Throughout the opera, Bonci maintained his high standard of a perfect artist, his voice always sympathetic and pleasant. Toti Dal Monti and Carlo Galeffi are also announced to sing at least one performance.
17A RISING YOUNG RUSSIAN-AMERICAN MEZZO SOPRANO MEETS WITH A DISTRESSING OCCURRENCE IN PADUA.
19Anita Klinova, for several years with Gallo's San Carlo Opera Company and now singing successfully in Italy, especially in the role of Carmen, is filling an engagement of that opera at the Teatro Garibaldi of Padova. At the opening performance on March 23, at the close of the third act where Carmen draws her stiletto to stab Don Jose, Don Cairo (Tommaso Fantini), who is supposed to grasp her arm to prevent her from doing so, was unfortunately seriously injured. As she drew the stiletto from her stocking in wild frenzy, and raised her arm to strike Don Jose, the hilt of the stiletto gouged the right eye of the unfortunate Don Cairo. A doctor was summoned at once from the audience and gave first aid. The wounded man was then taken to a nearby hospital, where it was stated that the right eye is completely lost, and the sight of the left seriously menaced. After the great excitement calmed down, the fourth and last act was given. Many and harsh were the criticisms by the press, and more than harsh by the general public, of the management and artists for finishing the performance under such circumstances. ANTONIO BASSI.
21Bohemians Offer Novel Program
23A most unconventional musical program is offered by the Bohemians at their next Harvard Club gathering (for members only) which is also the occasion of their annual private dinner and meeting.
25The concert is to be made up of the following numbers and artists: Concerto in C major for three pianos and string orchestra, Bach, played by Clarence Adler, Edwin Hughes, Harold Morris and String Orchestra of members of The Philharmonic, Conducted by Willem Willeke; Program of Negro Spirituals, Taylor Gordon, tenor and J. Rosamond Johnson, baritone; Selection for one piano—six hands, Olin Downes, Prof. John Erskine, Ernest Urchs; Nocturno for twelve cellos (H. Schaffer) and Hymnus for twelve cellos (J. Klengel), performed by associate members of The Bohemians; Paraphrase for Piano—three hands (Rimsky-Korsakoff and Borodin), Ernest Hutcheson and Prof. John Erskine.
27College of Fine Arts Notes
29SYRACUSE, N. Y.—Syracuse University closed its cycle of the Beethoven symphonies in a blaze of glory, with a magnificent performance of the choral symphony, on March 26, the actual date of the Beethoven Centennial. The chorus, made up of three university choral organizations, and a small body of singers from the city, sang without the slightest deviation from pitch, with fine quality of tone and with fine musical expression. The Syracuse Symphony Orchestra, under the direction of Vladimir Shavitch, gave an exceptionally good performance of the work, and at the close, the conductor, the orchestra, and the chorus were given a real ovation by the audience of over 3,000 assembled in the university gym. The soloists—Jeanette Vreeland, soprano; Nevada Van Der Veer, alto; Judson House, tenor, and Fred Patton, bass—sang beautifully and effectively from every standpoint. Their voice blended well, and they were thorough in their knowledge of the traditions of this great work. At the close of the concert the soloists were given a reception at the home of Chancellor Charles W. Flint, of the university.
31The first three concerts of the Beethoven cycle, held in Crouse College, were presented before capacity audiences. As every ticket had been sold three days before the date of the first program, a number of people were turned away.
33On March 23, the advanced music students of the College of Fine Arts gave a public recital before a large audience. The following students took part: Kathryn A. Smith, pianist; Vernon De Tar, pianist; Carlton Hickok, organist; Margaret Johnson, soprano; Mary Griscom, soprano; Dorothy White, pianist; Mrs. Frances W. Brown, soprano; Mildred Brinker, violinist; Helen Cunningham, pianist; Carolyn Waldo, organist and Clara Metz, pianist.
35Dean H. L. Butler, of the College of Fine Arts, and R. Jacob Kwalwasser, head of the public school music department at the College of Fine Arts, have been engaged for the Columbia University summer session, and will leave for New York, July 7.
37Mme. Tina Lerner, of the piano faculty, was soloist with the Detroit Symphony Orchestra at one of its recent concerts. Later she was soloist with the Syracuse Symphony Orchestra, at a concert at Wells College, Aurora, N. Y.
39The College of Fine Arts has announced a series of twelve graduating recitals, at each of which two of this year's graduates will be presented. These programs will be given on twelve successive Tuesday evenings.
41R.
43Lotta Van Buren Catalogs Old Instruments for Yale
45Yale University has asked Lotta Van Buren to go over its collection of old instruments and render expert opinion as to the different pieces comprising the collection and to catalogue them. Quite recently Miss Van Buren, whose lecture concerts on the history and development of the piano have become so popular, rendered a similar service to the Cooper Union Museum in New York, where one of the rarest collections in this country is housed.
47Next season, in addition to her own concerts on old keyboard instruments, Lotta Van Buren is being booked with Dicie Howell, soprano, in concerts of Tudor music, rendered in exactly the same manner and accompanied in exactly the same way as in the days of "Good Queen Bess." Both artists wear the sumptuous costumes of that period, which, with the old instruments, make a delightful stage picture.
49Seagle Artist-Pupil with Roxy
51Harold Van Duzee, new Roxy tenor, after two years of operatic appearance abroad in France, Belgium and Vienna, made his initial appearance in New York this winter, first at a Plaza concert, then in the new Roxy Theater, the size of which cannot detract from the beauty and power of Van Duzee robust tenor. He is a pupil of Oscar Seagle, having been under his guidance for seven years, and accompanying Seagle to Nice in 1923. one of two readings
52Harold Van Duze, new Roxy tenor, after two years of operatic appearance abroad in France, Belgium and Vienna, made his initial appearance in New York this winter, first at a Plaza concert, then in the new Roxy Theater, the size of which cannot detract from the beauty and power of Van Duze robust tenor. He is a pupil of Oscar Seagle, having been under his guidance for seven years, and accompanying Seagle to Nice in 1923. one of two readings
54Marmein Dancers in Charge of Dancing Masters' Convention Program
56The Marmein Dancers have been chosen to take charge of the program for the Convention Week of the Dancing Masters of America at the Waldorf Astoria in August. They were selected because of their being representatives of the original drama dance. The dancers will sail in May and will visit Paris, Germany, Italy, and London.
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