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Musical Courier 1928-08-09: Vol 97 Iss 6, 1928
71 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1August 9, 1928
3much detailed information on the tone production and technical methods of the famous violin wizard.
5ACCLAIMED BY CRITICS
6It has been said of Schéda that "the secret of his charm, his grip upon the hearts and souls of his audiences lies in the fact that he is Nature's own untampered genius." The London Times called him "one of the greatest artists that ever appeared at St. Albert's Hall." "His wonderful bowing is a masterwork which seeks to find its equal, and the ease with which he overcomes all technical difficulties astonished even the master Joachim," said the Berlin Tageblatt. The Paris Figaro considered his interpretation of Saint-Saëns' third concerto unequalled. The St. Louis Globe Democrat proclaimed him "the greatest master heard in St. Louis since Kreisler's last appearance." The New York World called his voluminous tone and interpretation of the Beethoven concerto unforgettable.
8TRANSCONTINENTAL TOUR NOW BOOKING
9It is regrettable indeed that the adverse circumstances surrounding him in his early youth should have compelled an artist of Schéda's attainments to express himself through the medium of the vaudeville stage. But that fact did not in the least impair his artistry and purity of style. He has always been and remained a serious, dignified and high-minded musician, and now that he is able to devote himself to concert work exclusively, the American public will have an opportunity to hear him in the standard violin repertory. A transcontinental tour is being booked for him for next season by his manager, Marion Knight, of 322 West 56th Street, New York City, and already many requests for his appearances in all parts of the country have been received. Before and after his tour he will devote himself to teaching in New York.
11Ganna Walska to Create "World Center of Music" at Champs Elysées
12New Plans Announced Just Before Destruction of Pleyel Hall—Everything from Opera to Phonographs—Russian Opera Season for Paris—Argentina Still Dancing
13PARIS.—The talk of Paris just now is Ganna Walska's scheme for creating a new Parisian "world's center of music," at the Théâtre des Champs Elysées; and the subject has become more à propos after the recent destruction of the new Salle Pleyel (designed with similarly ambitious intentions), in which Oliver Denton, American pianist, so tragically lost his life. Ganna Walska took official possession of the Théâtre des Champs Elysées on July 1 by giving a reception to the Friends of Music at which "tout Paris" was present. Her plans appear to be all-embracing, for her ideas embrace every department of the art—opera, concert, teaching, publishing, recording, and what not. In short it is to be not merely a theater, but a "world center."
14Such a center, she says, is necessary. Everything pertaining to music will have its place in the building. There will be windows for the exposition of pianos. The leading music publishers of the world are to have shops so that musicians can buy music in Paris instead of scouring Europe for it. One huge studio on top of the building will be converted for the making of gramophone records.
15DRESSING ROOMS TO BECOME STUDIOS
16The theater contains eighty dressing rooms, a number of which will be converted into studios that can be rented by teachers or students. The rebuilding of some parts of the theater has already started so that it will be ready for its new activities in the autumn. Special efforts will be made, according to Mme. Walska, to facilitate the visits of foreign opera companies desiring to come to Paris. The Scala, for example, is said to have been trying to make satisfactory arrangements with the Opera for the past four years. In short, in the musical benefactress' own words, "the Théâtre des Champs Elysées will be a temple of music for all nations."
17GENUINE RUSSIAN OPERA
18Paris has been promised a season of Russian opera, to be sung in Russian, for next autumn beginning October 15. Pierre Sirota, the impresario who is responsible for the undertaking, has announced that the first work to be presented will be Prince Igor with Sandra Yakowleff and Yurenief from the former imperial theaters of Leningrad and Moscow, respectively. The conductor will be d'Agrennef-Slavinsky, who has given a number of Russian operas here in concert form, and the stage manager is to be Lossky, who is known for the seriousness of his work. The decorations and costumes will probably be designed by Korovine, one of the best old-time artists. The season will open at the Théâtre de la Gaiété-Lyrique. Prince Igor will be followed by Sadko.
19After the season in Paris Sirota intends taking the company on tour throughout Europe and the United States.
20ARGENTINA STILL THE RAGE
21Although the season is well over Paris continues to rave over Argentina and her ballet. Owing to the hundreds who have been turned away daily she has prolonged her appearance and brought out a new ballet, El Fandango de Candil, by Gustav Duran. The extra fortnight's experience seems to have given the dancers the finish they lacked at first and the performance of this new work has been exceptionally good. It was de Falla's suite, however, which won the overwhelming success both for Argentina and her supporters, who displayed a verve and spirit that swept the audience to wild enthusiasm. If this unique dancer has half the success in America next autumn that she enjoys here she can be well satisfied.
22Eidé Norena's first appearance in Le Coq d'Or, as Queen Chemakha, was a triumph. She seemed inspired and sang the difficult music with an ease and a style that were delightful. The other characters were fairly good but the chorus was beneath all criticism. It struggled along against a colorless orchestra creating a musical hodge-podge that was most distressing.
23N. DE B.
25Van Grove Stages Brilliant Productions of Carmen and Tannhäuser at Cincinnati Zoo Opera
26The Jewess and Die Walküre Also Artistically Staged
27CINCINNATI, OHIO.—Carmen and Tannhäuser held the attention of Cincinnati Zoo Opera audiences during the fifth week of the season. In each, favorites sang the leading roles and were enthusiastically received for their singing and artistic interpretations.
28In Tannhäuser, Fred Patton's rendition of the Evening Star aria had been looked forward to with pleasure and he did not fail his admirers but seemed to surpass all their anticipations. This summer Patton sings with more beautiful nuances, shadings and a dramatic fervor that bring satisfaction. The Torreador Song in Carmen was an outstanding success. Marta Witkowska scored another triumph in the Carmen title role, which received a skillful presentation from this singer, whose range of voice is unusual and whose dramatic interpretation of any of her roles is realistic. Herbert Gould, whose fine basso has grown in richness in the last year, again sang the role of the Landgrave in Tannhäuser with his usual artistry, but as Zuniga, in Carmen, he played and sang with an aplomb that be-speaks the gifted operatic star upon whose dramatic instinct so much depends.
29There is no Wagnerian tenor so beloved in Cincinnati as Forrest Lamont. His singing of Tannhäuser was a great satisfaction and his ever-present sense of fitness in all things is a great pleasure. He is another artist who re-lives his part and makes no simulation do for real acting. Vocally well equipped to sing the role of Venus in Tannhäuser, Vera Curtis added much to the success of the production; she is an accomplished artist and possessed of a beautiful voice, which she handles with skill. This year saw a new Elizabeth, Yvonne X. Bonheur, who pleased greatly in the soprano role of L'Oracolo.
30On Wednesday evening, Barre Hill, a newcomer to Cincinnati opera, sang the role of Escamillo and pleased immensely with his rich voice. Ralph Errolle sang the role of Don Jose with dash and verve.
31ISAAC VAN GROVE A "CONSCIENTIOUS GENIUS"
32Little does the audience, which assembles nightly to enjoy the operas presented by the Zoo Opera Company, appreciate and understand fully that the man who should receive the greatest share of its plaudits is Isaac Van Grove, the genial musical conductor, on whose shoulders rests the success of the production. Without Van Grove, his admirers say, there could be no Zoo Opera. Truly, when one is fortunate enough to attend a rehearsal where one can see the amount of real labor, to say nothing of the musical ability, necessitated by the staging and singing of one opera, the real importance of Van Grove becomes apparent. Nothing escapes his attention, nothing is too much for him to do, nothing is done well that does not reap his word of praise—and therein lies the secret of his success with the personnel of the company—and nothing is left to chance. With him even the least experienced singer feels safe and is inspired to do the best possible. When the orchestrations for Tannhäuser were found incorrect at the dress rehearsal it was Van Grove who stayed up until daybreak of the next day to complete the work so that the production would go over smoothly. If there is such a thing as a "conscientious genius," it is Isaac Van Grove.
33THE JEWESS
34When The Jewess was produced last year by Van Grove and his company, John Dwight Sample, dramatic tenor, created the role of Eleazar and made of it a superb creation. He again sang the part, and, if possible sang it better than he did last year. His voice is a marvellous tenor and his characterization places him in the front rank of American artists. Italo Picchi's deep and sonorous basso and fine perception of the role scored in the part of the Cardinal. Fanny Cole's personality and voice were very pleasing as the Princess Eudossia. Agnes Robison made such a favorable impression with her singing of Rachel last summer that Business Manager Charles G. Miller and Musical Conductor Van Grove engaged her again for this season's production. Albert Mahler had the first worthwhile role this summer and made the most of Prince Leopold, and Natale Cervi sang the Prevost with his usual artistry. One of the high points in the production was the a capella singing of the service in the home of Eleazar, while the choral climax at the end of the third act was very effective. The scene
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37Arturo Vita in Swampscott
38Arturo Vita, well known New York teacher, has resumed his summer teaching in the Boston Conservatory of Music and has taken up his summer residence at Swampscott, Mass. At the Boston Conservatory he has a large class of pupils, his reputation being well known and many students embracing the opportunity of his summer classes to study with him. He has also taken a number of his New York pupils with him for private study at his Swampscott studio. His Boston residence continues until the end of August. In the fall he will return to his New York studio as usual.
40"Mr. Gunster possesses unusual gifts of voice and intelligence."
41—New York American.
43Frederick Gunster
44TENOR
45Management: RICHARD COPLEY, 10 East 43rd St., New York City
47The Cleveland Institute of Music
48Fall Term Opens September 19
49Private lessons in voice, piano, violin, 'cello, organ and all orchestral instruments.
50Full Courses lead to Teacher's Certificate, Artist Diploma and Degrees.
51OPERA SCHOOL under Marcel Salzinger of the Royal Vienna Opera gives experience in public performance.
52ORCHESTRA SCHOOL under the direction of Andre de Ribaupierre, concert artist, maintains three orchestras where students receive training and experience in public.
53PIANO DEPARTMENT under the direction of the distinguished American pianist and composer, Beryl Rubinstein, trains teacher, concert artist and amateur.
54PUBLIC SCHOOL MUSIC under Russell V. Morgan, director of music of the Cleveland Public Schools, prepares for position of music supervisor in public schools and leads to Bachelor of Education degree.
55Advantages include special pedagogy classes, training in ensemble, chorus and accompanying, concerts by guest artists, faculty and student recitals, comfortable and moderate priced student residence.
56Piano
57Violin
58Cello
59Voice
60School Music
61Beryl Rubinstein
62Andre de Ribaupierre
63Victor de Gomez
64Marcel Salzinger
65Russell Morgan
66ALL Department heads accept talented and advanced pupils.
67Send for Catalogue E outlining courses and fees
68Mrs. Franklyn B. Sanders, Director
692827 EUCLID AVENUE
70Cleveland, Ohio
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