Books › Musical Courier 1928-06-21: Vol 96 Iss 25, 1928 › scan 13
Scan 13
Musical Courier 1928-06-21: Vol 96 Iss 25, 1928
91 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Fra Gherardo a Continued Success in Milan
3Scala Closes Its Doors—Past Year Brought Few Novelties—Nearly One Dozen Promised Operas Omitted From Repertoire
5MILAN.—Ildebrando Pizzetti's new opera, Fra Gherardo, is enjoying a most unusual success, and all available seats for the second and third performances were sold shortly after the box office opened.
7Both Trantoul, who created the role, and Cristoforeanu showed that slight shade of improvement that comes with the confidence of a previous success, and together with their valiant co-workers as well as Pizzetti and Toscanini had to respond to as many as nine curtain calls after the second act. Let it be clearly understood, too, that these were not claque calls, but a genuine expression of the general sentiment in the theater.
9SEASON CLOSES WITH FINE MADAME BUTTERFLY
11Madame Butterfly was given several times with that rising star, Rosetta Pampinini, in the title role. That she is improving is very apparent to the keen observer, especially in her acting which, truth to tell, is not of the Sarah Bernhardt order as yet. But with another season or two Pampinini should take her place with the best. Her voice is of excellent timbre, and well in hand. Melandri was the Pinkerton, and demonstrated his vocal and histrionic gifts to advantage, while in the part of the Consul Victor Damiani sang in a musicianly and effective manner. Gabriele Santini conducted and got a well-balanced blend from both his artists and the orchestra.
13The opera was followed by another performance of the inevitable ballet, Vecchia Milano, which notwithstanding many merits, both musical and terpsichoreal, gets monotonous for its very persistence. It has been put on some thirty time since its premiere earlier in the season.
15The last opera of the season, and that which closed the theater for this spring, was Traviata. One was led to wish that Traviata had remained Traviata and stayed at home. Gilda Dalla Rizza sang the Violetta, but beyond making a very pretty picture and acting well, she showed little excuse for appearing on the great Milanese stage. Her voice is already in decline and she maltreats her native language in a way that, coming from the lips of a foreigner, would be the occasion of severe censure.
17A NEW BARITONE
19Alfredo's music was sung by that splendid artist, Aureliano Pertile. His acting is of the first grade, and his singing is everything that could be wished for. Pertile was the Scala's tower of strength all this season and, except for Toti Dal Monti's short engagement, the best drawing card on the list. His work is always sure, and one is never sensible of any feeling of discomfort during his performance. In the part of the father, Damiani was new to the Scala and acquitted himself with honors. His is a big voice, but nicely controlled with a well developed stumatura. Toscanini directed with his usual brilliance; he managed to overcome many of the gray patches and gave a magnificent color to the more interesting pages.
21And thus finished the Stagione di Primavera. Taken on the whole, the season was disappointing and far below the standards usual to this theater. This is partly due to Toscanini's objection to stars. Then, too, at the Scala, the orchestra is always the first consideration, and whether the voices get over or not makes little difference. From the spectacular point of view, however, the productions can safely be said to be the best in the world, and for this the credit may be divided among the wonderful scenic artists, the capable lighting experts, and the stage director, Gio-vaccinno Forzano, likewise so well known as a librettist and playwright.
23DEARTH OF NOVELTIES
25The season brought very little that was new. The first novelty was Wolf-Ferrari's Sly, which was followed by approximately one hundred days of incessant repetitions. Then came Bianchini's Fior del Cielo, a work which has nothing to recommend it, and which will probably pass into oblivion. Finally the big novelty, Fra Gherardo, of which enough has already been said. A great number of operas that were announced for production were cancelled. Among them was Giordano's Il Rê, and curiosity is rife as to the reason for its omission. At present, Giordano is finishing a ballet which will go with the opera. Il Rê is in one act of three parts, and the ballet, to be entitled The Magic Planet, is in ten scenes. The action of the latter is laid between Africa and Europe and is said to be bizarre and original.
27SINGERS TAKE NOTE
29Another disappointment was the failure to produce Orfeo. At least eight more operas were scheduled for presentation but failed to put in an appearance. A list of the works actually presented will be found interesting as an indication of the prevailing taste in Italy. Artists with Scala ambitions would be well advised to study the list and to get hold of the scores of both Sly and Fra Gherardo.
31It is possible that the actual number of the performances of each opera as noted here is not absolutely exact, but the discrepancies, if any, will be slight and insignificant. Here they are: Fidelio, 4; Mefistofele, 4; Nerone, 4; Bianchini's Fior di Cielo, 4; Lucia 4; Figlia del Reggimento, 4; Siberia 3; Andrea Chenier, 4; Pagliacci, 5; Pizzetti's Fra Gherardo, 4; La Bohème, 4; Gianni Schicchi, 4; Tosca, 4; Butterfly, 4; Manon, 4; Turandot, 7; Figaro, 4; Don Carlos, 4; Otello, 5; Rigoletto, 4; Falstaff, 4; Traviata, 4; Trovatore, 5; the Nibelungen Ring, 2; Der Freischutz, 3; Wolf-Ferrari's Sly, 5; Vittadini's Vecchio Milano, 30; Salome, 4; Der Rosenkavalier, 4; Legend of Joseph, 3; Cavalleria Rusticana, 5.
33From the foregoing it will be seen that Verdi and Toscani tie for first place, with Wagner in second and the other composers more or less equally represented. The conducting of these works was divided between Toscanini and rai-za (the Ring), with Santini and Votto substitutes. Richard Strauss directed the Mozart opera and his own works. one of two readings
34From the foregoing it will be seen that Verdi and Tuc-cini tie for first place, with Wagner in second and the other composers more or less equally represented. The conducting of these works was divided between Toscanini and rani-za (the Ring), with Santini and Votto substitutes. Richard Strauss directed the Mozart opera and his own works. one of two readings
36CHARLES D'IF.
38Victor Benham in France and Switzerland
40Victor Benham, whose successes in Europe this season have been noted from time to time in the foreign columns of the MUSICAL COURIER, recently played recitals in Lille and Geneva, and appeared as soloist at a Concert Symphonique in Rouen, playing the E minor concerto of Chopin. The pianist's success with the Rouen public and press was sensational, Le Journal writing: "Not since the memorable playing of this concerto by Paderewski has it been performed with such real charm, poetry and sensitiveness. With a technic of flawless accuracy and a tenderness of incomparable beauty, the artist quite hypnotized his audience."
42Of his recital in Lille the Dépêche said: "Victor Benham came to us much heralded by the Paris press as one of the greatest of all pianists, and it did not take long for him to convince us of the fact."
44Referring to his Schumann recital in Geneva the Journal de Genève had the following: "Mr. Victor Benham again created a deep impression at his recital of Schumann. As a player of Chopin I found in him one of the greatest; but I can with difficulty recall any one who so completely carried me to the world of Schumann's romance. . . . Owing to the great furore created, the artist is to appear at the next concert in June."
46Stockholm's Spring Season Brings Premieres
48Oehmann Feted at Royal Opera—Atonal Music Hissed—Enthusiasm for Brailowsky—Kurt Atterberg Wins Schubert Prize
50STOCKHOLM.—A number of premieres have been heard in Stockholm recently, both at the Opera and in concert halls. Verdi's La Forza del Destino was given here for the first time in an excellent production under Leo Blech, and Smetana's Bartered Bride, to be revived after thirty years, will undoubtedly fare even better.
52A world première given here was the performance of Krelantens and Eldeling, a "choreographic poem" by Moses Pergament, Stockholm critic and composer. Scored for an immense orchestra, its tone colors were varied and attractive, especially in the finale which is said to be based on an old Jewish wedding song. But on the whole the music was amorphous and unrhythmic, the story of the pantomime difficult to understand, and the choreography formless.
54A PROPHET AT HOME
56The Swedish tenor, Martin Oehmann, who has reaped great success both in Berlin and at Covent Garden, London, has also become a prophet in his own country. He sang ten performances at the Royal Opera House—to capacity audiences—including two rôles that were new to him here, namely Prince Calaf in Turandot and Don José in Carmen. Another opera singer who has completely won the hearts of our musical public is the Little Japanese soprano, Teiko Kiwa. While retaining all her Japanese characteristics, her singing and acting nevertheless show the result of European culture and her portrayals are subtle, artistic and convincing.
58PROKOFIEFF'S LYRICAL MUSIC
60At a symphony concert we recently heard Prokofieff's third piano concerto (in C-minor) for the first time. The work was very well played by the young Swedish pianist, Sven Brandel.
62Another new work, a second Symphony by the Danish composer Peder Gram, shows some of that modern intellectuality characteristic of the compositions of his compatriot, Carl Nielsen. But it lacks neither an individuality of its own nor genuinely fascinating qualities.
64In Variations on a Theme of Mesangeau, by another young Danish composer, Knudage Rüssager, modernity becomes atonality, and the ears of the Swedish audience were deeply offended. The weak applause which followed the performance of this work was speedily silenced by energetic hissing, a most unusual demonstration for Stockholm.
66BRAILOWSKY ACCLAIMED
68At one of the concerts of the Konsertförening, which closed its spring season with worthy performances of a Brahms cycle under Vaclav Talich and Adolf Wiklund, we heard Alexander Brailowsky play concertos by Brahms and Liszt on the same evening. It was one of the really great occasions, and the pianist was greeted with stormy enthusiasm.
70Three names new to Stockholm must yet be mentioned. One is Wanda Landowska who has delighted connoisseurs with her revival of old piano harpsichord literature. Another is Margherita Saloi, young Spanish coloratura singer, who has given a number of concerts with great success. She is not a world champion in her chosen sport, for her technic leaves something to be desired. But she has a naturally easy attack, a graceful manner and an infectious enjoyment in her singing. The third is the Budapest Trio, which has also made an indelible impression here. The youthful energy of these players and their unity of ensemble drew large audiences to a series of concerts.
72I. S. C. M. LIVING UP TO ITS NAME
74Stockholm possesses a section of the International Society for Contemporary Music, which in numerous concerts has tried to live up to its name. Of the works performed two Swedish compositions merit attention; namely, a violin sonata by William Seymer and a cello sonata by Yngve Skold. The first shows traces of modern English influence although it is chiefly national in character and has musical spontaneity. The second is likewise more national than international in its content.
76SCHUBERT PRIZES AWARDED
78It was in Copenhagen that the Scandinavian jury met to award prizes for the Schubert centenary competition by the Columbia Gramophone Company. Thirty-five works were submitted and of these a symphony in B minor by the Swedish composer Kurt Atterberg, won the first prize ($750) for its unusually artistic form and esprit. A young Norwegian, Irgens Jensen, was given the second prize for an impressive and highly artistic passacaglia, while a Dane, K. L. Emborg, got the third prize for a graceful little symphony.
80H. GLIMSTEDT.
82Mme. May Keon in New York Recital
84Mme. May Keon, soprano, made her first New York appearance for 1928 at Steinway Hall on June 5. Assisted by Maurice La Farge at the piano Mme. Keon sang arias from Cavalleria Rusticana, La Boheme, Carmen and The Bohemian Girl and a number of songs which included such favorites as The Rosary, Gounod's Ave Maria, At Dawning, I Hear You Calling Me, Comin' Thro' The Rye and Annie Laurie.
86Handsomely gowned, the singer, who, during her sojourn in Italy and France, was known as "the American beauty of Europe," made a superb figure on the concert platform. Her rich voice and dramatic style showed to excellent advantage in the operatic arias, while the smaller numbers were given with much tenderness and charm. A delighted audience insisted on numerous encores, which were graciously given.
88Mr. La Farge, besides furnishing most sympathetic accompaniments, contributed piano solos which included some original compositions. His well known and popular Sunset of the Tango was much enjoyed. The pianist was also obliged to play a number of encores.
90Mme. Keon, who has appeared with great success at the opera houses of Italy and France, and in concert throughout the United States, is booked for a tour of the Pacific coast in the fall. She intends to spend the summer resting and preparing for her fall tour at her mother's estate at Sound Beach, Conn.
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