THE OMAHA SUNDAY BEE: MARCH 25, 1917.
13 B
V
Music, Art and Drama
MUSIC
T
By HENRIETTA M. REES.
HIS week we are to have
the pleasure of again wel
coming the Boston Opera
company to another Omaha
season, a season which is
looked forward to with as
surance and eager antici
pation, because of the bright remem
brances of last year, when their
casts were splendid and their operas
put on with a wealth of detail and
vocal beauty, which afforded constant
enjoyment. Many of the same sing
ers are noticed in the casts for the
operas to be presented this season.
Puccini's "Tosca," one of the operas
which we seldom are afforded an op
portunity to see, Mascagni's "Iris,"
for which we are told Mint. Tamaki
Miura personally supervised all the
scenic properties in order to have
them absolutely correct, and Japa
nese, and "La Boheme," also by I'uc
cini, with Miss Maggie Tcyte and
Ricardo Martin as principals. The
Boston Opera company set them
selves a high standard last year,
which makes their return looked for
ward to as an event. In the
Boyd theater they will also have that
added asset of a more intimate and
personal sympathy between the sing
ers and the audience, which makes
each persons present feel that he in
dividually has a share in the performance.
One of the chief reasons for the
sensational success of Madame Galli
Curci, a success not of one time or
one place, but which increases with
her every appearance, is the fact
that over and above being a mere
singer with a phenomenal voice, she
is also a sterling and well founded
musician. There are many people who
have been endowed by nature with re
markable voices, which they develop
to a greater or less extent, according
to their teachers or their own intelli
gence, and application, but it is as a
house built upon the sands because
they have no genuine musical founda
tion underneath it. bingers upon the
whole the world over are the most
notoriously lacking in general mu
sicianship. Fortunately there are
some exceptions. But Madame Galli
Curci, before she became a singer,
had won fame and medals as a pianist
in the great conservatory where she
studied, and later attracted attention
for her study in harmony and coun
terpoint. Hers is not the success of
a few high notes, mere brilliancy, or
the emotional appeal of voice, which
dies away on sober afterthought: it
is rather the lasting success of a
thorough musician who has been able
to express herself freely upon a beau
tifully toned and intelligently devel
oped instrument. Many noticed that
she used her voice as an instrument.
Had we foreseen the events of the
week we could not have timed our
editorial upon clean musical work bet
ter than last Sunday. Galli-Curci's
singing was transparent as a crystal,
so clean and iridescent were here
trills and cadenzas, her phrasing and
attacks. In fact, all of her work, was
marked by that clearness that only
comes from clean technic, and the ap
preciation of clean sounds. To digress
for a minute, let's ponder again upon
her great ease. She stood there a
picture, like a quaint old-time minia
ture, and sang with no more effort
than if she were conversing with her
audience, performing all her marvel
ous feats of vocalism with neither a
gasp nor a wriggle, after the manner
of numerous of her stouter and more
imposing looking sister prime donne,
and gaining much better effects.
After all to be a musician is the
most important point. Kreisler would
still be Kreisler if he played upon a
much less perfect violin than the val
uable old instrument he uses, and
Godowsky is still the master pianist
whether he plays upon a poor piano
or one with a wonderful tone. The
point is that it is not the instrument
that makes for success. It is the per
son behind the instrument who must
be trained, for the instrument of it
self cannot go very far alone.
The finest Steinway ever built will
never become a concert piano unless
a concert pianist uses it. In the same
way the most wonderful voice ever de
veloped cannot attain any ultimate
success unless the person it belongs
to is a well educated musician. And
yet there are many vocal students who
go right on building and building
their vocal instruments, and who for
get that to get to the desired goal
they must also train themselves in
music. They get along very well for
awhile up to a certain point, and then
they come up against a great invisible
obstacle, and they cannot get over it.
Some of them call it prejudice, some
of them ignorance on the part of
everybody else, others personal dis
like, and others partiality and unfair
ness. It is known by many misapplied
names by many who either cannot or
will not admit that it is none of them,
but rather lack of musical intelligence
and musical development. Granted
that during their period of tuition they
nave Duilded well with the kind and
quality of voice they had, and that
they can sing high or low, or loud or
long, and even loud and soft, smoothly
and evenly, they cannot get over this
obstacle with it, for the simple reason
that it isn't a voice obstacle; it is one
of music as an art. Some of them dis
cover the obstacle and know it in its
true colors and are of the undaunted
and persevering kind who will go
back and slave to overcome it, and
to 'get the broad musical foundation
which is as necessary in the voice
line as it is in every other. With a
thorough general musical education
'to work from, the whole problem of
vocal technic would be much simpler
for the student and because they
would have a clear and definite idea
of what they were working for, fewer
voices would be ruined. But the
others, alas, refuse to acknowledge
that they do not know all that is
necessary if they have worked to a
certain limited extent upon their high
and low tonas, and they wander from
one place to another, appear in public
when, they can with no special sue
cess, teach with less, and blame the
world. There are many who never
overcome the handicap of the lack of
musical training, and the pity of it
is that the much desired success that
they have hoped for and worked for
as far as they have worked, lies on
the other side. But the development
of the voice is also important. Some
times we think that there are
even some who have not worked nor
striven very hard, or even tried to
develop it either not realizing that
there really was something to strive
for, and to Icam, or who have the
colossal conceit to think that with
nothing but perhaps a fairly good
quality ot voice, and a lot ot blutt
they can put it over, on the innocent
people. These are the kind who have
never worked either on voice build
ing nor on music and yet they pre
sume to be vocal teachers. By the
way, you who are studying with the
intention of making vocal music your
life work, what kind of a musician or
singer are you going to be?
According to the output of the
highest musical authorities, fashions
at present are, remaining much the
same. There will be the same general
silhouette in the program after Eas
ter as there was before it, in which
classical effects and modern features
are combined. The materials used will
show the greatest variety in both
composers and styles of music. The
firmness and durability of the old
masters will be contrasted largely
with the filmy creations of the mod
ernists in all sorts of figures and de
signs. Strong colors from the modern
French and Russian will be much in
vogue, and run riot in the most ex
treme fashions. Orchestras and sing
ers are most pronounced in this tend
ency, the vocalists presenting an ex
clusive showing of smali and com
plete articles in the widest variety of
melody and accompaniment.
The great pianists are using as usual
a great deal of Chopin, which is al
ways good, and intricately fashioned
compositions of the very latest har
monic weaves. Melody is decidedly
out, as it has been for some time in
the latest and most approved piano
patterns.
Among violinists, Kreisler styles
are especially popular, and his idea
of "using some lovely old melody and
ornamenting it with modern and skill
ful handwork is being much followed
by various other creators of these
modes. The Dvorak "Humoreske,"
pattern is still used by many of the
leading violinists, although this went
out with pianists, organists and or
chestras some time ago. As encores
the Chopin E flat, "Nocturne," Bee
thoven's "Minuet," "Moment Musi
cal," by Schubert, will be much worn.
The appointment of Edward Le
mare, without doubt, one of the
world's most notable organists, as
municipal organist at San Francisco,
is a most important event in the musi
cal life of the western coast. It adds
another great musician to the United
States of a type of which we need
all that we can get. According to the
musical journals Lemare is planning
to tollow the principles ot iheodore
Thomas, who said that "popular
music Is familiar music, and then
proceeded to popularize the best
music by making it familiar. Through
his courtesy many other San Fran
cisco organists will also be heard at
the municipal concerts, which will
take place twice a week. The position '
carries a salary of $10,000 a year.
In Grand Island. Neb., there Is an
organization of musical women whose
sole purpose is the development of
music and its appreciation in their
vicinity. This is called the St Ce
cilia society. On the 7th of May the
sixth annual festival of music in
Singers Who W ill Be Heard Here in Opera
CAalmers
In vew of the fact that two of the
operas to be given by the Boston Na
tional Opera company at the Boyd
theater, Thursday and Friday, March
29 and 30, are entirely new, it may
be well at this time to give a short
synopsis of the story of each of them.
The opera "Tosca," by Puccini,
which will be given on Thursday
evening, with Villani as Tosca and
Zanatello singing the very dramatic
role of Cavarodossi, is founded upon
Sardou's drama. Floria Tosca (so
prano), famed as a singer, is in love
with a young portrait painter named
Mario Cavarodossi (tenor). Baron
Scarpia, minister of police, is infatu
ated with La Tosca. Mario is at
work on a picture of the Madonna in
,the Church of Sant' Andrea when
Angeloti (bass), an escaped polit
ical prisoner, implores his assistance,
and is directed to a hiding place in
Mario's home. Floria arrives shortly
afterward, jealously suspicious of her
lover, who tells of Angelotti's visit
and present hiding place to assuage
her doubts. Scarpia (baritone) en
ters with his police attaches, having
traced the fugitive here, and orders
the arrest of the artist. He is
put under torture to force him to re
veal the hiding place of the fugitive.
La Tosca, unable to bear the sound
of his agonized voice in the next
room, earns his respite by telling
Scarpia where to find Angelotti.
Mario is imprisoned in the Castle
Sant' Angelo. In Scarpia's apart
ment La Tosca again implores him
to release Mario. He tells her that
the only way she can save her lover's
life is to give herself to him. She
pretends to consent and he directs
iiis lieutenanta to allow Mario to es
cape, but secretly orders his death.
When they are again alone she has
stealthily seized a carving knife from
the dinner table and kills him.
Snatching the passport which he has
recently signed, Floria hastens from
the place. Mario is allowed to write
his farewell to La Tosca before he
dies before the firing squad. Tosca
arrives, too late, but thinking that
he is feigning death to deceive the
soldiers. When they have all de
parted she runs to him, urging him
in eager whispers to make haste and
escape with her. She discovers the
tragic reality and in a frenzy of
despair leaps from the parapet just
as soldiers rush on too late to arrest
her.
The Mascagni opera, "Iris." In
which Tamaki Miura, the little Jap
soprano, who made such a tremen
dous sensation in "Butterfly" last
year, will be the star, is of especial
interest because it is the new opera
by the writer of "Cavaleria Rusti-
mm
George
cana." Iris (soprano), Tamaki Mi
ura, a beautiful and innocent Jan
anese country maiden, is playing in
her garden, when Osaka (tenor),
Tavio Kittay, a wealthy, dissolute and
unscrupulous young nobleman, de
termines to have her, and with the
aid of Kyoto (baritone), Thomas
Chalmers, a rascally geisha manager,
a plan is devised. Iris is watching
the antics of the quaint automatons
of a puppet show when Osaka and
Kyoto, disguised as strolling players,
seize her and take her to the Yoshi-
wara. In the meantime her blind
father (bass), Lazzari, calls for her
in vain. Neighbors find a note ex
plaining that she has gone to the
Yoshiwara. The grief-stricken father
hastens to this place, and when she
runs to meet him, dressed in rich
garb, he casts her aside, believing
that she sought the place of her own
accord. The grief-crazed girl leaps
ironi a high balcony into a ditch. Sup
posedly dead, she is borne to the out
skirts of the city, where rag pickers
are attracted by her elaborate attire
and valuable jewels. Seeing her arms
move, however, they run away in su
perstitious terror. - At the sines in
wondering innocence of the terrible
hours through which she hat passed
her soul mounts to the birthplace of
nowers and sunshine.
Grand Island promoted by this so
ciety will take place. This will take
the form of an afternoon and eve
ning program by the Symphony so
ciety of New York, Walter Dam
rosch, conductor, with Efrem Zim
balist and Oscar Seagle as soloists.
Both soloists are known in Omaha,
Zimbalist for his recital some years
ago with Alma Gluck, and soon to be
heard again with the same orchestra
here that will be heard in Grand Is
land, and Seagle for one of the most
enjoyable song recitals of the present
year.
,
Henry F. Gilbert, In an excellent
and bluntly true article in Musical
America of this week, savs that we
have no composers as yet the equal
of the creative leaders of Europe of
the present day, citing Strauss, De
bussy, DTndy and Stravinsky as ex
amples of the European composers.
He maintains that the American pub-
Harpist to Give Concert
LV V V w ' Vtevhs
pBftV' '''' "Cl7'"
I fill -I j't"t ' wr
lit 'A fi$ TJkelmz V V
fsiv- if
lie "by the large" is interested in but
two things, business and sport, and
does not know the meaning of art.
He compares the continual compli
menting of America upon its musical
attainments to the fooling of a blind
man, by telling him his sight is ex
cellent, until he really thinks it is,
and then the finest compound for
the prevention of progress or growth,
conceit and ignorance, is obtained.
He says that we have no particular
reason to feel proud of our attain
ments as a nation in musical art. Mr.
Gilbert is himself an American com
poser of prominence, and has prac
tical knowledge of American creative
conditions and accomplishments.
St. Jo WuiU Flaff.
Manager Jack Holland haa a aquad af
twenty playera working out at Tulaa, Ok!.,
In an effort to develop a winner to repre
sent flt. .Toffeph In the Weatern leasua.
Unusual interest is being taken in
the coming harp recital to be given
by Miss Loretta DeLone, who will
present several numbers as quartets
for concert grand harps on Palm Sun
day evening at the Fontenelle hotel.
One of the participants. Miss Dierks,
who studied under Miss DeLone in
New York, was presented with the
only $2,000 harp in the 'city by her
mother, Mrs. Charles Dierks. The
other young ladies to assist are Miss
Tiinms and Miss Sheen of Omaha.
Mr. Lynn Sackett, lyric tenor, will
frt
Lillia. Tttm&
add greatly to the event, as his num
bers are especially suitable for Palm
Sunday program. "The f alms" will
be accompanied by four harps, ar
ranged by Miss DeLone for the oc
casion. Several of the tamiliar tongs
will be used with the small Irish harp,
which Miss DeLone is introducing in
Omaha as an adequate and convenient
harp accompanying instrument for
singers. The classic novelty, the
"harpologue," originated by Miss De
Lone and used only by her in harp
recitals, has proved to be a most ac
ceptable part of a musical program.
Photo by Rembrandt.
The West Sisters
Four of Omaha's most prominent and talented musicians, whose ability
has been recognized throughout the country and whose judgment in
all'things musical is worthy of consideration, select
GRAND PIANO
ABOVE ALL OTHERS
Mason & Hamlin pianos have attained a degree of excellence which
has placed them in a class by themselves. Like the old Cremona violins,
they would be priceless if they could not be duplicated. Hear them and
become intimately acquainted with their resources and you will under
stand why they command the highest price why Melba, Bauer, Gab
rilowitsch and musicians everywhere are so enthusiastic in their praise,
and why those who want the best are buying them in preference to
all others.
Prices $600 up to $1900
A. HOSPE CO.
1513-15 Douglas Street
Frank B. Johnson
Secretary and Treasurer of th Omaha Printing Co.. one of the oldest,
hfst known and most prominent bualneaa and chin men In this com
munity, like hundred of othar exacting and dUcrlmlnatlna purchasers
who want the bent regardleaa of coit, is one of our eateemed and valued
patrons. Hy pitrvhantiiff the
Steinway
the world's leading piano, he
showed his usual rare and correct
Judgment on matters pertaining to
finances and the ability to select
the best In the musical world.
M r, Johnson has al way a been
Identified with the artistic product
In his line of work; cheapness and
shoddy printing and book work
would never appeal to htm nor pass
his Inspection, hence hts decision In
selecting the best In piano construc
tion. The StHaway. the piano with
out a rival.
Visitors, as well as Intending purchasers, are cordially Invited to
pny tie a visit of Inspection, and examine the finest stock of STEINWAY
IManos ever exhibited In Omaha.
ltrantiful Mahogany tprightu, $550 nnd1 Fp
Art Finish MiiliogaiiT (irarxK $S25 and I p
Eusy rnymenU If Desired,
A complete list of Steinway purchasers. Including prominent local
families, clubs, teachers and musicians of the highest ranks as well as
catalogue and portraits of Musical Celebrities, will be furnished free
upon application.
Schmoller & Mueller
Piano Co.
Eiclaelve Rtate Rrpmeatathrta for Ncbraaka anel Wcstera Iawa.
1311-13 Farnam Si. Tel. Doug. 1623. Omaha, Neb.
Next Saturday
SPECIAL
tOO Rolls of
"NAUGHTY I
NAUGHTY!
NAUGHTY r
Par Roll.
Only One Roll to
a Customer.
A Combination of Quality and
Perfect Tone Makes the
HADDORFF
PIANO
The Piano You'll Eventually Buy
In directing your attention to the HAD
DORFF PIANO, we do so knowing that ALL
we say about it WE CAN PROVE TO YOU.
Manufactured by us and under the direct
supervision of our master workmen and
artists, we KNOW that only the highest qual
ity of material is used in its construction, thus
making perfect the Haddorff Piano.
Buy Direct From Us and Eliminate the
Dealer' Profit.
Tel.
Doug.
4240.
Columbia Grafanolaa, Records and Supplies.
Haddorff Music House
Factory Stora
1807 Farnam Straat
"WATCH OUR WINDOWS"
Tel.
Doug.
4240.
Henry Cox
Muplelan, Educator
Patterson Block
'MUSIC CULTURE FOR HAPPINESS.
AND SOCIAL SERVICE."
' A GIFT UNSURPASSED.
Three Great Secrets of Musical Pedagogy
Develop Beauty of Expression Challeng
ing Comparison.
Walter B. Graham
Baritone
Studio, Suite 1 and 2 Wead Bldg.
Phone Red 4444
Effie Steen Kittelson
ART OF EXPRESSION
Technique of the Spaaklnr Voiee,
Phreleal Culture, Pantomime,
Dramatie Art
tit Belra Bide., 1702 Oouilae Street
Phone Trier 1411
ANNIE E. GLARGOW
VOICE CULTURE AND PIANO
Studio toil Karbarh Block
201 South loth St. Phone Red 116.
Florence M. Rhoade3
VOICE AND PIANO
Studio 14 McCague Bldg.
VERNON C. BENNETT
Concert Organist, Pianist and
Teacher
NEW STUDIOS
436-437-438 Rose Bldg.,
Sixteenth and Farnam Sta
Tyler 2467-J.
.CORINNE PAULSON'
PIANISTC AND TEACHER OF PIANO
Studio, Room. 4 end I, Baldrlfe Blk
20th end Farnam Sta.
Reiidanee Telephone, Heme t78i.
Expert Tuning and Regulating
1908 Harney St. Doug. 6019.
CHAS. H. THATCHER
PIANO FACTORY.
Pianoa Refinished and Rebuilt.
Florence Basler-Palmer
VOICE CULTURE
Coaehlne in German and Italian Sona
Pupila prepared for concert and church
Poeltlone -Volee Hearinge Free.
Btn'lo, 180T Farnam St.. Omaha, Neb
Phone Douglaa 8684.
j
RAGTIME
PIANO
PLAYING
POSITIVELY TAUGHT IN TWENTY
LESSONS
The Orlelnal Chrieteneen System.
OMAHA STUDIO
(225 Cumin? St. Walnut IS78.
HARP CONCERT
Loretto De Lone
Aiaisted by
Misses Timms, Dierks and
Sheen Harpists.
Lynn Sackett, Tenor.
Palm Sunday, April 1
HOTEL FONTENELLE
Tickets at Owl Drug
. Hospe's, 75c and
Store and
$1.00
BOSTOFI HATIOHAL GRAND
OPERA COiPANY
Orchestra of 50 Chorui of SO
Caata of International Stare
BOYD'S K MARCH 27th
Local Management of Lucius Pryor
TUESDAY NIGHT
"TOSCA" With Zenatello, Villani, Baklenoff, Laxaari) Conduc
tor, Moranzoni. ",'
WEDNESDAY MATINEE
"IRIS" With Tamaki Miura, Chalmora, Kittay, Levoroni; Con
ductor, Moranzoni. ;
WEDNESDAY NIGHT.
"BOHEME" With Teyte, Martin, Relfolmen, Marr, Mardonee;
Conductor, Guerrieri. .
PRICES Orcheatra, $4.00 and $5.00. Balcony, $2.00, $3.00 and
$4.00. Gallery, $1.00.
SEATS NOW ON SALE
(Free Lilt Positively Suapended During This Engagement.)