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Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
43 lines. Read by computer on 27 September 2026. Printed page 10. See the scan on archive.org.
1Christine Loos in Opera
2CATANZARO.—The Catanzaro season is about to end. Il Trovatore has been produced and the event of special importance which marked this performance was the debut of Christine Loos of New York as Leonora.
3Miss Loos is well known in educational circles and as late as last season was still occupying an important post in the musical department of the New York Public Schools. Her debut here was a decided success. There are few voices like hers for volume, beauty and control. When an artist with a voice of such quality really sings, the effect is glorious, but those who possess big voices so seldom sing. Miss Loos is one of the exceptions, perhaps one of the extreme exceptions, for she always sings. From the loveliest pianissimi to the biggest forte the voice is always on the breath and her modulations and color effects are obtained with a poise and perfection that are most satisfying.
4The singer is a Duval pupil and also has to her credit a correct expression of the text and clear diction. A fine, impressive stage presence and dramatic training of a high order are added assets to Miss Loos' vocal and musical qualities, thus making her an operatic artist who should rapidly forge to the front ranks.
5C. C. S.
7Robinson-Duff Pupil in Recital
8Essie Case, an artist pupil of Mrs. Robinson-Duff, gave a recital recently in Eureka, Cal., which was described by the critic of the Journal as of such a character that one could listen to it forever. "She kept the interest of the audience through every number," he further declared. "Combining a finished technic with remarkable beauty of tone and splendid volume the soprano never for a moment sang unfeelingly and for that reason, no matter what the language of the song, never failed to bring its message to every person in the large audience. Not only can Miss Case sing, but she can act as she proved particularly in her second group when her gestures and facial expressions added to the unusual expressiveness of her voice peopled the stage with the characters of the songs."
10BIRMINGHAM, ALA.
11BIRMINGHAM, ALA.—Louis Graveure, baritone, was presented in concert by the Birmingham Music Study Club as the last of this season's offerings of the series of artist concerts. Mr. Graveure delighted a large audience with his excellent interpretations and beautiful art. He drew a large audience, which expressed its warm appreciation with hearty applause. Bryceson Treharne was his efficient accompanist.
12The Birmingham Music Teachers' Association held its regular monthly meeting on March 30, when Guy C. Allen, pianist, led the program with an excellent dissertation on The Restless Age. Mr. Allen illustrated his remarks with piano excerpts from modern compositions.
13Alice Graham presented two talented pupils, Virginia and Martha Knight, in piano recital, assisted by Milton Smith, tenor, and Zolita Johnson, dancer.
14Ruth St. Denis, Ted Shawn, and the Denishawn Dancers were presented in a memorable performance at the Jefferson Theater by the All-Star Course (Mrs. Orline Shipman and A. Brown Parkes). They drew a capacity audience, which was charmed with the art of these exponents of aesthetic dancing. They were shown many social courtesies, one of which was a luncheon given in their honor at the Allied Arts Club.
15The Birmingham Conservatory of Music, Edna Gockel Gussen, director, has moved into a commodious new home of its own, and is now able to enlarge its capacity in every department. The departments now functioning are piano, pipe organ, violin, voice, history of music, theory, harmony, coaching for repertory in classes, and the department of modern languages. Ruth Y. Chandler is at the head of the voice department.
16The Birmingham Music Study Club held its last study program for the year in the auditorium of the Alabama Power Company, when a large audience of members and friends assembled to hear the discussion of wind and modern orchestral instruments, and a fine illustrative musical program. Alice Graham is chairman of the Study Course. Mrs. J. W. Luke was leader for the occasion, and Bert Hollowell, orchestral leader, delivered an informative address on the subject. Flute numbers were played by Angelo Silva, flutist, with Fletcher Gray at the piano. A trio for flute, violin, and piano added M. Villani, violinist, to the above mentioned players. Donald Garber played several charming selections on the clarinet, with Joseph Stoves at the piano.
17The Music Study Club presented its final morning musicale for this season, featuring Gordon Sutherland, pianist, and Harold Johnson, violinist. Mrs. R. C. Woodson, chairman of morning musicales, was in charge. Both performers were young men of unusual talent, and their artistry delighted the audience. Mr. Gordon, who is just twenty-one, recently graduated from the Chicago College of Music. Harold Johnson, sixteen-year-old violinist, is a Birmingham boy whose unusual talent is attracting wide attention. He plays with the poise and artistry of a mature violinist, and elicits a remarkable tone from his instrument. A. G.
19Milan Lusk Delights Park Audience
20Under the auspices of the Woman's Club, Milan Lusk, violinist, appeared on April 4 at the Morgan Park M. E. Church, Chicago, and was accorded an enthusiastic reception. He gave a fine account of himself, displaying his splendid violinistic qualifications to advantage. His familiar technical mastery was again in evidence but in that unobtrusive way which spells notable art. Particularly effective was his rendition of the Reve d'Enfant by Ysaye, which excelled in a tone of ravishing loveliness. The large audience brought him back for numerous encores.
22NEW YORK UNIVERSITY
23DEPARTMENT OF FINE ARTS
24SUMMER SCHOOL IN MUNICH
25MUSIC AND FINE ARTS COURSES UNDER THE AUSPICES OF THE BAVARIAN GOVERNMENT AND THE CITY OF MUNICH
26SPECIAL RATES FOR THE MOZART AND WAGNER FESTIVALS
27Six week-end trips to Regensburg, Augsburg, Landshut, Fuessen, and Ulm—Return via Rhine to Rotterdam or via Paris to Boulogne—Sailing from New York, July 2, arriving home, September 15.
28TOTAL COST (INCLUDING STEAMER, RAILWAY, WEEK-END TRIPS, BOARD, LODGING, TUITION, ETC.) $500.
29For Full Details, Address the Secretary, Department of Fine Arts, New York University, Washington Square East, New York City.
31Werner Wolff Acclaimed in Riga
32The difference between the sunny south and the rugged north is not one of mileage alone, nor of racial traits. Space excludes a dissertation on the many dissimilarities that go to point this somewhat trite truth which is revealed even in that world-wide unifier, music. In the case of Werner Wolff, however, the North once again united with the South in giving him an enthusiastic reception on his appearance at the National Opera at Riga, now the capital of Estonia.
33The occasion was specially noteworthy from the fact that it was the first time in the history of the Opera that a guest-conductor stood at the desk to lead the orchestra. He presented Aida, one of the operas chiefly favored at Riga. "The difference between our usual performances and that given us by Wolff was a very considerable one," the Riga Rundschau confesses. "No hiatus, no clefts here. One harmonious flux, in which even the most delicate nuances were clearly worked out. His powerful and virile guidance presented everything enhanced, in a most effective manner, with absolute musicianship."
34Wolff's visit to Riga concluded with his direction of a symphony concert at the Opera, when the program contained, besides Beethoven's seventh symphony, the overtures to Tristan and Isolde and the Mastersingers. The press declared that at times it was impossible to recognize the orchestra again. "The interpretation of the works was an absolutely imposing one, thanks only to the fact that Wolff conducted. This was clear to all present"—an open acknowledgment of more intrinsic value to the recipient than could be contained in a whole bouquet of verbosity.
36Letters of Appreciation for Johnson
37After Edward Johnson's recent Atwater Kent broadcasting he was "inundated" by an avalanche of letters of appreciation, one of them being as follows: "I was sailing with my friend Mr. McHarg on his yacht Altair from Newport News to Miami and one night when we were hove to in a southeast gale which had blown us off shore about a hundred miles and we were feeling rather blue, we turned on the radio and there out in the Atlantic and in one of the worst seas I have ever been in came your voice, just as clear as a bell. You can imagine our surprise and delight. It almost seemed as if you were right there in the cabin with us (I am glad for your sake you weren't). My very best congratulations on your splendid success in New York. I do hope I will hear you some time in The Henchman and that we shall see you here this summer." (Signed) William F. Jennison, Bay City, Mich.
38Mr. Johnson's second new role of the season at the Metropolitan Opera House was as Radames in Aida, his first new role having been the Henchman in The King's Henchman. Among the press comments on the Aida performance, one notes in the New York Journal that "There was a large and applause audience. The evening was notable for the first appearance here of Edward Johnson as Radames, a revelation in the acting of the role so long merely a matter of wooden gesture. And Mr. Johnson's singing of the music also had its delights of fitness and restraint." And the New York American declared: "Edward Johnson, the hardest-worked tenor in the company, gave a creditable performance of Radames. He sang as well as he looked and he looked magnificent."
39After a performance of Pagliacci, interesting comments appeared on Mr. Johnson's Canio. The Evening Post said that "Edward Johnson, as usual, left nothing to be desired." and Leonard Liebling stated in the New York American: "Edward Johnson was the skilled operatic interpreter, as Canio. He put fire into his portrayal, and he reached tellingly the emotional highwater mark (not meaning tears alone) which has become traditional in the utterance of the famous sobful aria."
41Kuryllo Plays at Benefit
42A benefit entertainment was given at Carnegie Hall on March 21 for the Kosciuszko Foundation in which, among others, Adam Kuryllo, violinist, appeared. Mr. Kuryllo played Legenden and Obertas, both by Wieniawski, and was enthusiastically received. The beauty of his tone and the excellence of his technic were particularly commented upon.
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