Books › Musical Courier 1928-04-12: Vol 96 Iss 15, 1928 › scan 28
Scan 28
Musical Courier 1928-04-12: Vol 96 Iss 15, 1928
79 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1April 12, 1928
3Metropolitan Presents Annual Performance of Parsifal
5Huge Audience Fully Appreciative of the Magnificence of Wagner's Work—Principals Ideally Suited for Their Parts—Chorus Exceptionally Good—Other Offerings of the Week
7SUNDAY NIGHT CONCERT, APRIL 1
8The concert at the Metropolitan on April 1 offered another of the fine programs now so customary on Sunday nights. On this occasion the soloists were Minnie Egener, Marion Talley, Elda Veltori, sopranos; Angelo Bada and Alfred Tedesco, tenors; Millo Picco, baritone, and Ezio Pinza, bass, as well as the chorus, orchestra and stage band, with Giulio Setti conducting. The program contained the William Tell overture, Lucia di Lammermoor sextet (Talley, Egener, Tedesco, Bada, Picco, Pinza), Cavalleria Rusticana, Easter Hymn (Vettori and chorus), Boris Godunoff, Coronation Scene (Pinza and chorus), Jewel Song from Faust (Marion Talley)—delightfully sung—and the Mefistofele Prologue (Pinza and chorus). The real feature of the performance was the "first time" presentation of two choral numbers by Giulia Recli—Prophecy from Isaiah, Vocavi te and Psalm 95, Cantate Domino. Both proved to be exceedingly interesting, and the chorus made the most of every opportunity for fine shadings and splendid balance. The program was given for the benefit of the company's emergency fund and was in reality a personal triumph for Conductor Setti.
10SIEGFRIED, APRIL 2
11Siegfried was repeated at the Metropolitan on Monday evening, April 2, with a familiar cast: Laubenthal (Siegfried), Max Bloch (Mime), Clarence Whitehill (The Wanderer), Gustav Schuetzendorf (Alberich), William Gustafson (Fafner), Karin Branzell (Erda), Florence Easton (Bruennhilde), Editha Fleischer (Voice of the Forest Bird). Serafin re-appeared at the conductor's stand and gave the score a beautiful reading, while the singers also were in happy vein and contributed to a generally well sung performance. Easton's Bruennhilde stood out for its clarity and beauty of voice and Laubenthal as Siegfried was excellent, both vocally and histrionically. Whitehill's Wanderer is a dominant figure. He was in unusually good voice and gave a fine performance.
13FAUST, APRIL 4
14Chaliapin strode the boards at the Metropolitan again on Wednesday evening, as Mephistopheles in Gounod's opera. He came up to his usual magnetic standard and received ovations at the curtain calls. Mario Chamel proved once more that he is singing unusually well this season, investing the music of Faust with much tonal beauty and abandon. De Luca made an experienced Valentine while Queena Mario, as Marguerite, added to her laurels. She was sympathetic and sang beautifully. Ellen Dalossy was the Siebel and Kathleen Howard, Martha. Hasselmans conducted. one of two readings
15Chaliapin strode the boards at the Metropolitan again on Wednesday evening, as Mephistopheles in Gounod's opera. He came up to his usual magnetic standard and received ovations at the curtain calls. Mario Chamlee proved once more that he is singing unusually well this season, investing the music of Faust with much tonal beauty and abandon. De Luca made an experienced Valentine while Queena Mario, as Marguerite, added to her laurels. She was sympathetic and sang beautifully. Ellen Dalossy was the Siebel and Kathleen Howard, Martha. Hasselmans conducted. one of two readings
17LA RONDINE, APRIL 5
18La Rondine was repeated on April 5 with Bori and Gigli again the fascinating lovers. Both were in excellent voice and aroused the large audience to great enthusiasm. Editha Fleischer as Lisette, Tokatyan as Prunier, Ludikar, Picco, Paltrinieri, Wolfe, Ryan, Falco, Alcock, Parisette, Wells and Flexer, completed the fine cast. Bellezza conducted. While not a great opera in the fine sense of the word, La Rondine is one of the most delightful offerings the Metropolitan has offered, and seems to have won a warm place in the hearts of opera devotees.
20PARSIFAL, APRIL 6 (MATINEE)
21Parsifal was given at the Metropolitan Opera House on the afternoon of Good Friday before a capacity house. Whatever may be the opinions of some critics upon the subject of this opera, or music drama, or sacred rite, or whatever it is to be called, it is sure that it attracts a great audience whenever it is given. It appears also equally sure that there are many who would like to hear it but cannot, because the Metropolitan gives it only once a year. One wonders why?
22One also wonders why there should be so much opposition to it in some quarters? Is it on religious grounds or artistic grounds or both? That is difficult to say; nor is it a matter of much import. Everyone is welcome to his or her individual opinion, but, as Lawrence Gilman says in the Herald Tribune, "for those who are not responsive to it Parsifal must be an afflicting thing indeed."
23What would be the reaction of the public and critics to this work if it were based upon pagan instead of Christian myth? Myth it is, full of the imaginings of the middle ages. It is, after all, merely one of the stories the like of which it was Wagner's habit and custom to use for musical
25(Continued on page 47)
27SUMMY'S CORNER
28The OUTDOOR SEASON is coming!—which reminds us that the children love to learn all about the flowers. Teach them NATURE STUDY
29THE MUSIC WAY in MOTHER NATURE SONGS by Kate B. Reed and Henrietta Stevenson Illustrative plates by Corina Collier Price, 50c
30Contains scientific facts about the Flowers in verse, song and pictures. The illustrations are designed for the children to color with crayons or water color. Makes a lovely Gift Book as well as a Song Book for the early grades.
31CLAYTON F. SUMMY CO., Publishers 429 South Wabash Ave., Chicago, Ill.
32This book will be on display at our booth—557-a, in the MUSIC SUPERVISORS NATIONAL CONVENTION at the Stevens Hotel, Chicago, week of April 16th, 1928.
34SUMMER MASTER SCHOOL
35June 25 to August 4, 1928 (42nd Season)
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47KARLETON HACKETT
48Distinguished vocal instructor and critic. Repertory and Teachers' Classes.
50ADOLF WEIDIG
51Eminent authority on musical theory.
53EDUOARDO SACERDOTE
54Noted teacher of voice.
56JACQUES GORDON
57Famous violin virtuoso and Concert Master Chicago Symphony Orchestra.
59HERBERT BUTLER
60Eminent teacher of the violin.
61Faculty of over one hundred artist teachers
63Special Courses in Public School Music, Theatre Organ Playing, Dramatic Art, Musical Theory, Class Piano Methods for Public Schools.
65FREE SCHOLARSHIPS
66Free Scholarships to talented and deserving students awarded after competitive examinations. Josef Lhevinne will award one scholarship for private and two for repertory class lessons. Oscar Saenger will award a scholarship for private lessons and five scholarships in Opera Class. Apply for application blanks.
68Superior dormitory accommodations.
69Rates of tuition moderate.
71CREDITS will be given on summer courses taken toward Certificates, Diplomas, Degrees—granted by authority of the State of Illinois.
73Summer Session prospectus, regular catalog and Public School Music circular mailed free on application. For detailed information address
75AMERICAN CONSERVATORY OF MUSIC
76JOHN J. HATTSTAEDT, President
77503 KIMBALL HALL
78CHICAGO, ILLINOIS
The computer misreads some letters and numbers. Where a name matters to you, read the scan.