Scan 6
Musical Courier 1928-12-13: Vol 97 Iss 24, 1928
83 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
1Chicago Hears Tales of Hoffman for First Time in Several Years
3Practically a New Cast Used for Popular Revival—Il Trovatore Given for First Time This Season—Barber of Seville Superbly Done—Fine Die Walkuere Performance Warrants More German Offerings—Other Operas of the Week
5TALES OF HOFFMAN, DECEMBER 2 (MATINEE)
6CHICAGO—After an interim of several years, Offenbach's Tales of Hoffman was revived by the Chicago Civic Opera Company and, presented with a practically new cast and completely new scenery. It proved a happy addition to the regular repertory of our company. One of the aims of the Chicago Civic Opera management seems to be the rejuvenation of old operas, and in this it completely succeeds in pleasing the taste of the present generation. Modern scenery is well suited to such a fantastic opera as The Tales of Hoffman, and before reviewing the work of the principals, chorus, orchestra and conductor, a special word of praise seems to be in order for the stage manager of the company, Charles Moor; for Mr. Beatty, the technical director, also for the designer of the scenery, and for all those who are connected in a mechanical way with the production.
8Fantastic was the mise-en-scene of the second and third acts, while the prologue and the epilogue minutely followed old traditions. It has been a long time since, in operatic productions, mechanical devices, such as a bird opening its wings and beak while its vis-a-vis, a grotesque monster, dances whenever back and side curtains automatically open. True, in many ballets such devices have long ago made their appearance on the stage, but in Hoffman's this was, at least as far as Chicago is concerned, a novelty. Everything in Spalanzani's home moved mechanically, and the setting, baroque as it was, gave a touch of extravaganza, very appropriate in the Tales. The scene in Venice was likewise exotic, yet magnificent to the eye, even though, unless it be in the municipal parks in Venice, we had never noticed cypress trees growing in the canal city of Barcarolle fame. The last act was weird in its dress and the melodramatic note was carried to perfection.
10Having sung the praise of the stage director and his associates, first place in the cast must be given to Vanni-Marcoux, the famous actor-singer, who appeared in the four roles of Lindorf, Coppelius, Dapertutto and Dr. Miracle. In the first, he was such an imposing figure that he eclipsed everything before him, even when seated before his barrel, drinking a stein of beer and proffering not a single word. As Coppelius, his make-up of the Jewish optician was a masterpiece. He did not exaggerate the points that are usually stressed in a semitic portrayal, but remained in the frame of artistry. As Dapertutto, he was the handsome, evil hypnotist who with swavity frightened his friends and acquaintances. As Dr. Miracle, his study was remarkable. He looked a thin giant who added sinister effect to his person by wearing a tall hat that shaded his eyes and gave to his physiognomy a ghastly appearance that was repulsive and hair-raising.
12Then, too, Vanni-Marcoux sang gloriously whenever opportunity permitted him to display his voice to best advantage. He does not sing two roles alike. A nobleman does not speak with the same accent as an apache. Lindorf does not ejaculate words as does Coppelius; nor does Dapertutto resemble Dr. Miracle vocally. Vanni-Marcoux suits his voice to his delineation of a part. The voice can be young or old, solid or feeble, agreeable or acid to the ear, and as versatile as Vanni-Marcoux is as an actor, he is more versatile as a singer and interpreter. If it were only to permit opera-goers to witness him in those four parts, the management would not have erred in bringing back into its repertory an opera that has heretofore weathered storms in its time solely through the Barcarolle. Today there are many other reasons why The Tales is popular and the principal one is Vanni Marcoux.
14Rene Maison, whose singing reminds one more and more of Lucien Muratore, was capital as Hoffman. He sang delightfully from the beginning of the opera until the end and won the warm applause of the public after his various arias. Maison, too, has studied the part thoroughly and he proved himself once again a very intelligent comedian—one who can act a poet as well as a soldier or a knight of the grail. Maison is a tenor of whom the Chicago public is justly proud, one who always gives of his very best.
16Helen Freund voiced most agreeably the role of Olympia, which her small stature and doll-like appearance made very realistic. She was a real porcelain doll, an automatic toy, who sings and walks mechanically with the assurance of a human being. Her success was complete.
18Stage beauties have often displayed their charms on the operatic stage as Giulietta. Many singers who could not sing at all, but who looked good to the eye, have been cast often as the courtesan, Giulietta, since Offenbach's opera first saw light at the Paris Opera Comique, where it is known as the Contes d'Hoffman, the title it should bear here, since the opera is sung in French. The present titular of the role is also a beautiful woman, but this time one who also possesses a beautiful voice. Marion Claire, a girl in her early twenties, has been well endowed by nature. She looks ravishing to the eye and her charming manner and lovely mien added materially in making her courtesan a delicious vision. Miss Claire also sang delightfully the role of Antonio and rose one step higher on the ladder of operatic fame in her two new roles.
20Irene Pavloska was satisfactory as Niclaus. Desire Deffre was less boisterous than of yore as Spalanzani, which the Belgian baritone sang as a light tenor. Edouard Cotruel made a great deal of Crespel; likewise, Jose Mojica of Franz. The balance of the lengthy cast was uniformly good, the chorus men and women sang as though they were enjoying it hugely and the orchestra under Henry Weber's direction performed its duties most agreeably and diligently. Weber's keen musical discernment is more and more in evidence. There is a long span between Wagnerian operas and Offenbach's, yet the young American conductor seems as much at home when conducting heavy operas as in lyrical pieces. A great measure of the success of the performance is therefore due to Weber's efforts. one of two readings
21Irene Pavloska was satisfactory as Niclaus. Desire DeFrere was less boisterous than of yore as Spalanzani, which the Belgian baritone sang as a light tenor. Edouard Cotruel made a great deal of Crespel; likewise, Jose Mojica of Franz. The balance of the lengthy cast was uniformly good, the chorus men and women sang as though they were enjoying it hugely and the orchestra under Henry Weber's direction performed its duties most agreeably and diligently. Weber's keen musical discernment is more and more in evidence. There is a long span between Wagnerian operas and Offenbach's, yet the young American conductor seems as much at home when conducting heavy operas as in lyrical pieces. A great measure of the success of the performance is therefore due to Weber's efforts. one of two readings
23LA BOHEME, DECEMBER 3.
24Boheme was repeated with practically the same cast.
26IL TROVATORE, DECEMBER 4
27The old favorite, Trovatore, was given for the first time this season with Antonio Cortis replacing Charles Marshall (indisposed), Richard Bonelli, Virgilio Lazzari, Cyrena Van Gordon and Eva Turner. Giorgio Polacco conducted.
29Antonio Cortis, who, since the beginning of the season, has shown marked improvement in all the roles entrusted to him, has been in great demand, as he knows so many operas that the management considers him a sort of Heinz of fifty-seven varieties fame. Thus, whenever a tenor is incapacitated, Cortis is called upon, and gives entire satisfaction. This was again evident, as his Manrico left little to be desired.
31Richard Bonelli sang with distinction and acted in like manner the role of the Count, in which he is always admired by the Chicago public.
33Virgilio Lazzari did a great deal with the role of Fernando—so much, indeed, that after the first scene he was recalled several times to acknowledge enthusiastic plaudits.
35Cyrena Van Gordon disguised herself to appear as the old, haggard Azucena—a role she always voices so well as to call for the highest praise. Stride la vampa was given so forcefully and beautifully that the public reacted as a
37(Continued on page 20)
39Portland Symphony Honors Schubert
41Maier and Pattison Please as Soloists
43PORTLAND, ORE.—In observance of the Schubert centenary, Portland Symphony Orchestra, Willem van Hoogstraten, conductor, opened its second evening concert with the overture to Rosamunde. This time the orchestra had the assistance of Guy Maier and Lee Pattison, pianists, who played Mozart's Concerto in E flat major for two pianos and orchestra, also Sowerby's Ballad for the same instrumentation. In short, Messrs. Maier and Pattison made a big hit with the audience, which numbered more than 3,500 Oregonians. Other works conducted by van Hoogstraten, of whom Portland is justly proud, were two excerpts from Wagner's Twilight of the Gods, and Glinka's overture to Ruslan and Ludmilla.
45A huge crowd also attended the orchestra's first matinee concert for young people. Explanatory talks were given by Conductor van Hoogstraten, who is training a large chorus to sing with the orchestra.
47J. R. O.
49Adelbert Wells Sprague Reelected Conductor of Maine Festivals
51BANGOR, ME.—Prof. Adelbert Wells Sprague was re-elected conductor of the Eastern Maine Music Festival Association at the annual meeting of the board of directors of the association. The officers elected are: president, Clarence C. Stetson; vice-president, Louis C. Stearns; secretary, Wilfrid A. Hennessey; treasurer, Sarah P. Emery; executive committee, Frank R. Atwood, Wilfred A. Finnegan, Harry W. Libbey, William McC. Sawyer, Louis C. Stearns, Clarence C. Stetson. Directors are Franck S. Ames, Machias; Harold S. Boardman, Orono; Lyman, Blair, Greenville; Harry L. Crabtree, Ellsworth; Henry B. Eaton, Calais; Edwin M. Hamlin, Milo; Walter J. Riedout, Dover-Foxcroft; D. W. Rolling, Dexter; W. H. Waterhouse, Old Town; Frank R. Atwood, Albert E. Bass, Franklin E. Bragg, Henry F. Drummond, Mrs. Sarah P. Emery, Mr. Finnegan, A. Langdon Freese, Fred A. Gilbert, Mr. Hennessey, Mrs. Frank Hinckley, Mr. Libbey, Mr. Sawyer, Adelbert W. Sprague, Mr. Stearns, and Mr. Stetson.
53Arrangements for the spring music festival in May are already being made by Mr. Sprague.
55L. N. F.
57De Sylva, Brown & Henderson Adds to List
59De Sylva, Brown & Henderson, music publishers, announce that their recital-song department has added to its list new numbers by Henry Hadley and also by Alfred Robyn.
61Cleveland Orchestra Presents Schubert's E Major Symphony for First Time in New York
63Conductor Sokoloff and His Men Arouse Enthusiasm of Large Audience by Their Superb Rendition—Other Offerings Likewise Please
65Nikolai Sokoloff and the Cleveland Orchestra came to Carnegie Hall in superb form for an evening concert that filled the auditorium with a deeply interested and warmly applauding body of listeners.
67The enthusiasm was richly deserved for not only did Sokoloff give his usual keenly musical and highly temperamental readings, but also he afforded his audience the opportunity for a first New York hearing of the Schubert symphony in E major, orchestrated by John Francis Barnett from sketches left by the composer. (The genesis and history of the work have been told in these columns heretofore.)
69The Schubert symphony is not one of that master's best scores, but it is a melodious and gracious composition, with a few episodes that distinguish the genius who wrote his Unfinished Symphony just one year later. Barnett's orchestration is reverent, refined, and musically, and also "Schubertian" enough to warrant the undertaking.
71A scintillant performance of the Wolf-Ferrari overture to The Secret of Suzanne, opened the program engagingly. The orchestra played with lovely clarity and precision.
73A March of the Orient, by Joseph Schillinger (a Russian composer now visiting America) proved to be a short, resounding and modernistic piece of writing, of no particular individuality. Its general atmosphere is hardly joyous. The marchers of this music were seemingly in a savage mood and on sinister errand bent. Sokoloff and his men played the opus with tremendous vim and virtuosity.
75The second half of the program consisted of Wagner, Mme. Gertrude Kappel sang excerpts from Tristan and Isolde (Liebestod) and Goetterdaemmerung (Immolation finale) and although she was not in her best voice, put all her intense feeling and dramatic delivery into her performance, and was rewarded with hearty response from her auditors.
77The orchestra contributed the Tristan and Isolde prelude, and Siegfried's Rhine Journey, in both of which Sokoloff showed himself possessed of the rich fancy and passionate intensity which Wagner's scores require even in concert version. The tone of the orchestra was full and rich and they rose magnificently to the imposing climaxes demanded by the leader.
79The applause continued long after the closing number and Sokoloff had to come forth and bow his thanks time and again.
81"IOWA'S OWN VIOLINIST"
82Such is the appellation by which Iza Niemack now has become known to musicians and music lovers throughout the country. This is the result of having her talent recognized by prominent citizens of her home town, Charles City, Ia., as well as by music clubs and civic organizations in that state. Many appearances have been made under these auspices, and each time with the success to be expected from a young artist of the fine calibre of Miss Niemack. Her engagements, however, are not confined to the state of Iowa, for she is at present on a concert tour of the East, and during the course of the season will make appearances in various other parts of the United States. (Photo by Moffett.)
The computer misreads some letters and numbers. Where a name matters to you, read the scan.