Books › Musical Courier 1927-11-10: Vol 95 Iss 19, 1927 › scan 38
Scan 38
Musical Courier 1927-11-10: Vol 95 Iss 19, 1927
79 lines. Read by computer on 27 September 2026. Printed page 39. See the scan on archive.org.
1November 10, 1927
3CHICAGO OPERA
4(Continued from page 5)
5had full opportunity to demonstrate her position as one of the leading dramatic sopranos of the day; and the manner in which she delivered that number justified the management's high hopes of the newcomer, who already may be looked upon as a potent factor in making the 1927-28 season one of the most brilliant on record.
7Heinrich Schlusnus, a young baritone who comes here with a big European reputation, made a most striking appearance as Wolfram. He belongs to that class which the French call la grande école, a school in which are counted but very few opera singers; besides a gorgeous voice, Schlusnus has all the requisites of an opera artist. His stage deportment is dignified and the moment he appeared on the stage one felt his presence. Even though the newcomer was surrounded by others, he stood out in the limelight. This happens only when one has great talent for the stage; and Schlusnus knows the stage to perfection. Each gesture was comprehensive and gave nobility to the part.
9Vocally he left nothing to be desired until the singing of The Evening Star, in which he proved somewhat disappointing. So much had been expected from his previous work throughout the evening that his rendition of this aria fell somewhat flat, even though sung with sufficient vocal eloquence to satisfy the Wagnerists on hand. Schlusnus has a voice of great range, fresh, produced without effort; and if his low register were equal to his medium and high registers, he would have no rival today in the realm of operatic baritones. All in all, Schlusnus is a very happy addition to the baritone department of the Chicago opera, and he occupies a niche all his own among the bright stars that will shine throughout the present season.
11Forrest Lamont, who was Tannhauser, sang the first scene beautifully, but later in the evening he developed a sudden cold, which greatly hampered his vocal resources—so much so that before the last act Mr. Johnson had to make an announcement from the stage, asking the indulgence of the audience for the incapacitated singer.
13Cyrena Van Gordon, the Juno of the opera stage, was regal to the eye in the garb of Venus, and her song being as beautiful as her appearance, her triumph was in every way justified. Miss Gordon seems in better voice than ever before.
15Lucille Meusel made her debut in the small role of a young shepherd. She sang the music given to the part with telling effect and with such surety of tone as to proclaim her one of the very few ever heard concluding the song on pitch. Miss Meusel is therefore not only a good singer but a fine musician. Alexander Kipnis made a good Landgrave.
17Henry G. Weber, who counts only twenty-five winters, directed the performance of Tannhauser as though he had been twenty-five years directing operas. Even though the orchestra had not been reinforced by symphony players, he brought out all the beauties contained in the score, and his reading at all times was illuminating. Among the trump cards of the Chicago Civic Opera must be placed this young wizard of the baton—a student and a musician of the highest order.
19The stage settings and groupings of the choristers were a credit to the stage director, Charles Moor.
21SNOW MAIDEN, NOVEMBER 5 (MATINEE)
22Rimsky-Korsakoff's Sniegrouchka, which had held the boards of the auditorium in seasons gone by and which then was produced with French text, was given in English at the first matinee of the season. Edith Mason reappeared in the title role, making her first bow of the season in a part well suited to her voice and charming demeanor. In glorious fettle she sang the music allotted her with fine understanding and beauty of tone. Her portrayal left nothing to be desired and much to be admired. Augusta Lenska must be congratulated for the manner in which she enunciated the English text. Charles Hackett was the real star of the performance; his singing was a joy, and the most brilliant musical moment of the afternoon was his delivery of the tenor aria in the second act, the public making clear its pleasure by prolonged applause. Giacomo Rimini acted the role of King Frost, with his wonted artistry. Henry G. Weber gave a brilliant reading of the score. The ballet was excellent and the minor roles were well handled.
24THE BARBER OF SEVILLE, NOVEMBER 5
25Rossini's popular Barber of Seville was billed for the re-entry of Toti Dal Monte, who finds in Rosina one of her best roles. Toti, as she is so often called here, met with such a spontaneous reception at the hands of her admirers that throughout the performance she gave of her very best. Her Rosina is fascinating, coquettish and frisky. Vocally, our popular coloratura displayed anew the full gamut of her art, which is transcendent. She scored one hundred per cent. Jose Mojica essayed for the first time the part of Count Almaviva; he acted it with assurance and savoir faire. Vittorio Trevisan was a capital Don Bartolo; he was funny without overacting, but the same cannot be written about several of his associates. Of the male contingent, the best singing was that done by Richard Bonelli. Moranzoni made his first appearance at the conductor's desk, from where he directed a performance that left little to be desired as far as the orchestra was concerned.
27MUSICAL WANDERERS
28(Continued from page 5)
29clear around the world, playing and singing continuously if they choose wherever it is the music season.
31Myra Mortimer brought home two trunks full of toy dogs, which is the curse of once getting over a press agent story, she declared. To get her name in a newspaper she once "confessed" that toy dogs were her inspiration and her hobby, she said, and ever since then people have insisted on giving her toy dogs wherever she goes. It wouldn't be polite to throw them away, or to start a toy store with them, she said, but nobody need be surprised if the children of some hospital or orphanage find them in their stockings Christmas morning. Miss Mortimer returned from a tour of the Scandinavian countries with Mr. Bos as accompanist. In Christianity they met Richard Crooks and were so happy to see someone from home that the three staged a celebration.
33Mrs. Frederick Coolidge, who inaugurated chamber music festivals in Pittsfield, Mass., and Washington, D. C., also returned on the Majestic. Abroad she sponsored ten concerts of the sort she inaugurated here, and Europeans were so pleased with the innovation that chamber music festivals may become even more popular abroad than they are here.
35Joseph Szigeti was another Majestic passenger.
37James Hagney of St. Louis, arrived on the Pennland for an American concert debut after nine years' studying and singing in England, France, Germany and Italy.
39Rita Benneche, coloratura soprano, returned on the Albert Ballin for her first American appearance after six years abroad. Miss Benneche was born and trained in New York and spent her time in Europe singing in operas and concerts in Germany, Austria and the Balkan countries. Her first concert at home will be in New York in January.
41The Albert Ballin also brought in Heinrich Schlusnus, of the Stadtoper, Berlin, for his first visit here, following a tour of England and Italy. His first concert will be in New York, November 20, then he goes west to Kansas City and the Pacific Coast, he said.
43Mans Mueller, who wrote the libretto for Violanta in which Jerita sang the lead role at its premiere, arrived on the same boat. Besides writing words for opera he has written two successful European movie scenarios and is now on his way direct to Hollywood.
45Nina, Casar and Lasarow, dance trio, arrived on the Albert Ballin from the Barberina, Berlin, to give dance interpretations of Russian and Roumanian music in America.
47John Clarke, who sang and played the lead in Princess Charming, arrived aboard the Minnetonka for a short visit. This first British produced play with music, after the American style, has set the English public to clamoring for more music with its plays, he declared.
49Emilio de Gogorza hurried in aboard the Mauretania to take up his work with the Curtis Institute, Philadelphia, and also concerts. This was his fifth crossing this season. The vocal schooling at the Institute could not be better done or better organized than it is, he said, and the Institute under the guidance of Josef Hofmann is certain to be a great influence in the world's music.
51Maude Santley was on the Mauretania's list of notables and several passengers "knew" she was aboard but no one had actually seen her during the voyage and she couldn't be found when the ship arrived, so her name was entered among the ship news mysteries.
53Adrah Laurillard returned from a vacation aboard the George Washington.
55Emilio C. Ghirardini hurried in aboard the Roma just in time to open his second season with the San Carlo Opera Company in Rigoletto. He returned from a concert season in Italy.
57Among those outward bound this week was Mrs. Archibald MacLeish, sailing with her husband on the United States liner President Harding for a vacation in Paris.
59C. C. R.
61Sofia Gorskaja Now in America
62Sofia Gorskaja, mezzo-soprano opera singer of Russian birth who arrived in New York from Berlin on October 20 with her personal representative, Myrra Stollar, has the distinction of having made records for some of the largest gramophone companies in Germany.
64The story of Mme. Gorskaja's life is an interesting one, filled with successful conquests. Following the first revolution in Russia in 1905, when Mme. Gorskaja was a young girl, she went with her parents to Berlin. In 1912 Gustav Hollander, of the Stern Conservatory in this city, heard her sing and advised her to go to Mailand to have her lovely voice cultivated. After studying there for a short time, the singer departed for Paris, where Conductor Van de Born heard her in Cavalleria Rusticana and complemented her very highly upon the art she displayed. While in Paris she also had the privilege of singing for Jean de Reszke in his own theater. Returning to Germany, Mme. Gorskaja fulfilled an engagement in the Berlin Opera, after which she journeyed to Russia and Roumania, where she appeared in several operas. During the past two years, when she was again in Berlin, Mme. Gorskaja appeared in concerts in addition to her activities in the making of records.
66Representatives from the press of Berlin were invited last summer to hear a number of records which the mezzo-soprano had made, and as a result she was eulogized as follows in the newspapers: "The noted artist has shown her art in her beautiful rendition of the Russian folk songs. Mme. Gorskaja sings her songs with Slavish intensity," said the Neue-Zeit, while the Die Welt am Abend declared that "The Russian folk songs on the records of Sofia Gorskaja, with her soft and beautiful voice accompanied by orchestra, are exceptional." The Neue Berliner Tzvelf Uhr Nacht stated that "Among the best of the latest records of the largest gramophone companies are songs by Sofia Gorskaja. The lovely mellow and well-trained voice of the artist should be recognized by all lovers of music." The Berliner Volks Zeitung expressed the opinion that "Through the Gypsy Romances of Sofia Gorskaja, in which her soft and pleasing voice with sweet tone is enriched by orchestral accompaniment, one may look forward with great interest to her personal appearances." The Rul noted that "The Gypsy songs of Sofia Gorskaja, rendered with great pathos and feeling, were most successful," and the Berliner Tageblatt predicted that "The singer, with her beautiful and soft mezzo-soprano voice, should be very popular in her folk songs."
68CHARLES JAMES KING
69Pianist-Accompanist
70"Showed rare musicianship and played authoritatively."
71—Des Moines, Iowa.
72STUDIO
73315 West 106th St., New York City
74Tel. ACAdeemy 5247
76HARRISON POTTER
77"Once more proved himself an admirable pianist. Taste is his and intelligence, musical insight and a rare discretion."—Boston Evening Transcript.
78Concert Direction: Aaron Richmond, Pierce Bldg., Boston, Mass.
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