STEINWAY ACADEMY of MVSIC to Own a Steinway Is to Possess the Best

Total Page:16

File Type:pdf, Size:1020Kb

STEINWAY ACADEMY of MVSIC to Own a Steinway Is to Possess the Best 'rc<HROUGH the five centu­ \....I ries marking the evolution of the piano, no name has made so great an impress, or has signified so much in the creation of the piano-the perfect instru­ ment of music of modern times­ as the name BROOKLYN STEINWAY ACADEMY OF MVSIC To own a Steinway is to possess the best. UPRIGHT PIANOS from $550 UP GRAND PIANOS from $750 UP STEINWAY & SONS STEINW A Y HALL 107 and 109 East 14th St., New York Subway Exp ress S la tlOn al the Door R1(.OOhl.. Y.N E.AG L E PRl:::i~ . HOTEL BOS'SERT T.he Magnificent Montacue and Hick. Street. MAGNIFICENT RESTAURANT AND PALM ROOM OPIUI UNTIL 1 A. M. AFTER THEATRE SUPPERS A SPECIALTY Weber Piano Montacue St. ca n operate until 1 A. M. DINER DE LUXE SERVED SUNDAYS AND HOLIDAYS- $1.50 Arraqcmenta can be made for banquet •• luncheon•• supper•• afternoon tea •• of To-day weddlllC reception • • card partlu and dancu. We will be pleued to .ubmlt menu. and reaerve date •• PERSONAL INSPECTION INVITED Telephone 4980 Main R. T. MARTIN. Manacer TO purchase any high-grade piano without hearing CALENDAR the Weber, is to ignore the march of progress and The Victor APRIL The Soulful the recent achievements of the most notable staff of AND 7. McCormack Recital. S. Madam Butterfly. 9. Mat.-Haensel & Gretel. musical iJ?strument experts in the world. Sole Bloom 9. Madam Butterfly. Sohmer 10. Mat.-Madam B u tt~rfly. 10. Eve.-Madam Butterfly. with its' new action, realizes to-day Oae always suggests 11. Mat.-Haensel & Gretel. The Weber the other 11. Eve.-Madam Butterfly. Piano a piano ideal which five years alo 12. Madam Butterfly. EaJo), Grand Opera '3. Mat.-Madam Butterfly. For Nearly 40 YeaR Grand seemed to be beyond expectation. ID ),our own home '3. Eve.-Madam Butterfly. an Acknowledged 15. Thais. Leader. 16. Thais. .. Unequalled in '7. Mat.-Thais. possesses a tonal magnificence but Vktor· Victrolas '7. Eve.-Thais. Merit" is the opin­ The Weber • 18 to 8::1.50 IS. Thais . ion of those who a shade below that of the Grand. 19. Thais. have heard the Upright 20. Mat.-Thais. Its lower registers in particular Victor Records 2 0. Eve.-Thais. Sohmer • Ceeiliaa 22. T ales of Hoffmann. have a majesty and sonorous beauty that are almost iD bi, variety 2 3 . Tales of Hoffmann. Player PiaDO 24. Mat.- Tales of Hoff· Send for Illustrated organ-like. mann. Catalogue. 24. Eve.-Tales of ' Hoff· [email protected]. mann. Favorable Terms if Our only excluaive 25. Tales of Hoffmann. Desired FOR half a century builders of high-grade pianos have stri,vea to produce aD • al.. room for Victor. 26. Tales of Hoffmann . action in which the blow. or sense of impact. should be minimised. aad a 27. Mat.-T ales of Hoff· 366 FIFTH AVENUE mann. Sohmer i Co. tone that should have a certain subtle combination of brilliancy with "ah'at)' Bet. 14th and 35th St • . 27. Eve.-Tales of Hoff· WAREROOMS mann. smoothness-a singing quality akin to the human voice. Borou,h of Manhattan 29. Mignon. 315 Fifth Avenue ·PIo.De 5455 Murray Hili 30. Mignon. Cor.32d St. New York THERE are no words which can really describe either this action or tkll tone quality. but when you playa piano that has them. it will be lomathinl WHICH YOU CAN NEVER FORGET. Any day you choolle you ma)' b ... Modern and Fireproof this experience at Aeolian Hall. the home of the Weber Piano. Storage for Household Goods and Valuables Packing by Experts ; THE AEOLIAN COMPANY Carpets lifted, cleaned, Aeolian Hall, 362 Fifth Avenue, near 34th Street, New York '1 altered and relaid. Out-of-town and city removals. THE LARGEST MANUFACTURERS OF MUSICAL INSTRUMENTS IN TH_ WORLD DIRECTORS H erbert F. Gunnison ======= BROOKLYN REPRESENTATIVE ======= Andrew D. Baird William Hester ohn E. Cassidy Seth L. Keeney Daniel J . Creem T. M. Lloy d ulian D. Fairchild John McNamee Robert 'Fu rey J . H. H allock ~• Le Grand Beers W m. M. Van Anden ALPHONZO SMITH OFFICERS Seth L. Keeney; Pres. John E. Cassidy. Viet·Pres. Herbert F. Gunnison. S U.·Treas. 23-25-27 Flatbush Avenue. near Fulton Street The Metropolitan Opera Company OUTER APPAREL. MILLINERY. FURS FOR WOMEN. MISSES AND JUNIORS Will present during the season of 1912-1913 a series of operas by the leading The aim of this establishment: artists of the world, in­ cluding such well-known To present the most excl UBi ve singel"S' as Fashion! of the distinguished sl,II­ originators of Paris, whilt /""1 Enrico Carulo modes art tht vo gut abroad. Geraldine Farrar Also, to create styles which have for Riccardo Martin their motif the Paris modes '11M LOUIS KREIDLER, Baritone Antonio Scotti moment, but are better adapted to With the Aborn English Grand Opera Company Dinh Gilly the more conservative ideas of many Palquale Amato American women. " For the Woman Who Cares" Carl J8m The result is most gratifying to women of Olive Fremltad fastidious tastes-they find in this perfectly Leo Slezak appointed "Store de luxe" an unapproacbed Marie Rappold selection of the very things tbat the smart Z ESSENTIAL FACE CREAMS Parisienne is wearing this season, toaetber Louile Homer Plexo Greaseless with equally charming modifications of tbose Protects the akin from Emmy Deltinn the dirt and dust of ultra-fashionable modes-all ., ",";~/I out-of-doors- Marie Mattfeld Plexo Cleansing ' ~rius ! Keeps the Pores of the and othen akin In a natura. health, condition. AT ALL COOD DIlALnL We iD'lite the malt critical iDlpectl ..,.f our Dew model .. u well u tb. broad... pOllible compariloD of our ~al_. Dates of performances will be announced later. " For the Woman Who Cares" - --- ~-- :~ '. ' • • "'::- '~ .........., ' \: •• -: :' t "-! :'c '. ' ...: .• ," -' ~ . ow that the styles for Spring are practically determined, it is evident Nthat Foulards will again be the favored silks as in the past two seasons. This fashionable demand for Foulards is largely due to the beauty, quality and water-resisting features of Cheney WEEK OF APRIL 22, 1912 Matinees Wednesday and Saturday ABORN These exqulSlte silks are especially charming when developed from the many new patterns English Grand Opera designed particularly for the Foulards of 1912. Company In addition to the large variety of new effects in " Shower-Proof" Foulards MILTON and SARGENT ABORN, Managing Directors Cbt Calts of Hoffmann (Les contes d'Hoffmann) offer over fiv e hundred designs in printed dress Opera in Five Acts, by Jacques Offenbach. silks appropriate for Spring and Summer wear. Libretto by Jules Barbier. English Translation by Cheney Silks are too numerous to sample. but send Charl,es Henry Meltzer, us your address and we will take pleasure in .ad­ vising you what stores in your vicinity sell our sIlks. Cheney Silk. include "Shower. Proof" Foulard •. CAST Florentines, Decorative Silks, Uphol.tery Good., Hoffmann, a Young Poet."",", .. ,' ,Henri Leon Velour., Velvets. Ribbon., Cravats. Velvet Rib. bons. Spun Silk Yarn., Reeled Silks, etc., etc. Nicklausse, his friend ,'.,"". '......... Zoe Fulton Luther, an Inn-Keeper . , .... , ..... , ... Jack O'Neil athanael, a Student .. , .... ' ...... Lillian Concord CHENEY BROTHERS Hermann, a Student .. .............. A, Douglass Silk Manufacturers Antonia, in Love With } l' 4th Ave. and 18th St., New· York . !l0ffmann . ... .. ......• . Edith Helena Gltllietta, a Courtesan BI I R Ed d at Venice.. .... , anc le ae war s Olympia, a Wonderful Mechanical Doll. Lena Mason '<. ." ~ • ~, • • ~ '¥~~'. Programme cOll /ill ued 011 third page f ol/owing - ------ --- CAST- Continued Crespel, Antonia's Father .... ....... .. .. } . Spalan.zani. Supposed Father of Olympia ............ Joseph Flonan Dr. MIracle, Antonia's Evil Genius f Dapert!ltto, a Sorcerer over Giulietta .... .. Hamilton Earle Coppell~ls, a Hebrew, Maker of Gla s Eyes Schlemll, Favored Lover of Giulietta ... .......... ... John Mercer Franz, Crespel's Servant} . Cochenille. Attendant tf) the Doll ........... .......... PhIlip Fem The Vision of Antonia's Mother .... ............ ... Lillian Concord w. & J. SLOANE Chorus of SPirits, Students Lords and Ladies SAN FRANCISCO Invited Guest~, etc. ' WASHINGTON NEW YORK Conduct!?r . ................... ........... .. ... Cresar Sodero Stage Director .... .................. .. ..... ..... Alexander Puglia SCENES. NEW AND EXCLUSIVE PROLOGUE-The Tavern of Luther at Nuremburg. ACT I.-Crespel's Drawing Room. Munich. (Antonia.) ACT II.-A Palace in Venice. (Giulietta.) Cretonnes and Chintzes ACT III.-Spalanzani's Ball Room. (Olympia.) E.PILOGUE-Same Scene a Prologue. (The Muse.) Our Showing of Cretonnes and Chintzes in XVIII Century designs will appeal to those inter, SCHEDULE OF ALTERNATII G PRINCIPALS. (Sllbject to Change withollt Notice) ested in the furnishing and decoration of country Monday night-Mi s Helena will sing. homes. Many of our patterns are reprints of old Tuesday night-l\Iiss Edward. Chintzes made in England at that time and can be Wednesday matinee-Miss Helena. Wednesday night-Mi s Edwards. secured only from us. Thursday night-:ZI1iss Helena. Friday night-Miss Edwards. The materials are cotton, natural and -bleached Saturday matinee-2'.1iss Helena. linens. The designs are Floral, Bird of Paradise, Saturday night-Miss Edwards. French Medallion, Chippendale, Chinese, repro, C oyrect AbO/'ll Librettos (ill English) for sale ill the Lobby. ductions of old Needlework, etc. NEXT WEEK These fabrics are shown combined with hand, Matinees Wedne day and Saturday. made furniture - reproductions of XVIII Century AMBROISE THOMAS' beautiful models- w ith which these Chintzes were origin' ally used and w ith white and colored enamel bed, mignon room furniture. (First time in Greater New York since 1908. First time in English Our Wall Papers and Hangings are made in in twelve years.) many designs to match and are the choicest ob, With Alice K~a.ft. M~bel ~iemonn, Henry Taylor, Elaine De Sellem, tainable from French, English and American PhIlip Fem. \Vllmot C.
Recommended publications
  • Courier Gazette : January 3, 1925
    Issued Tuesday Saturday Thursday Issue Saturday The Courier-Gazette By Rockland Publimini C.. 465 Main St, Established January, 1846. EatarM aa Saeantf Claaa Mall Mattar. Rockland, Maine, Saturday, January 3, 1925. THREE CENTS A COPY Volume 80............... Number 2. The Courier-Gazette RECALLS TRAGEDY ROUND’S NEW HICO SCHOOL BUILDING OLD TIMERS THERE THREE-TIMEt-A-WEEK Capt. Sidney G. Hupper Seventy-Five Members of STOP LOOK LISTEN ALL THE HOME NEWS Gives Full Details of the' the New Legislature Have Subacrlptlon 53 06 par year payable to Georges River Accident. Seen Previous Service idrance; single copies thru cents. Advertising rates baaed upon clrculatloa Editor of The Courier-Gazette:— There. snd very reaaonable. I have read with much interest the PREVENT BEING NEWSPAPER HISTORY » Frank Holley of North Anson, The Rockland Gazette was established in items in recent issues of The Cour- Blaine Morrison of Phillips. Percy 1846. In 1874 the Courier was established. w ,, and consolidated wlrth the Gazette in 1882. cier-GazeMe, concerning 'the Georges Sargent of Sedgwick. Judge Maher The Free Press was established in 1855, and River Accident. Although it small in 1891 changed its name to the Tribune of Augusta, Mark Barwlse of Ban­ These papers consolidated March 17. 1897. boy at the time I remember the in­ gor and a dozen or so other mem- KILLED cident because of a certain event in I^.*. IK, bers-elect of the 82d Maine Legisla­ ••• ••• my own family. The date I would ture which convenes Wednesday ••• A people who can understand and ••• — | place as the second, of July, 1858.
    [Show full text]
  • Toscanini IV – La Scala and the Metropolitan Opera
    Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 33,1913
    AUDITORIUM SPRINGFIELD lymphon; Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor Pr©gir< WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, FEBRUARY 24 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER since 1823 No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. ^r AUDITORIUM . SPRINGFIELD Twenty-first Concert in Springfield Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor TUESDAY EVENING, FEBRUARY 24 AT 8.00 PROGRAMME Glazounofl .... Symphony in B-flat major, No. 5, Op. 55 I. Mod ra to maestoso; Allegro. II. Scherzo: Moderato; Pochissimo meno mosso. III. Andante. IV. Allegro maestoso. " Weber . Recitative, Wie nahte mir der Schlummer," and Aria, "Leise, leise," from "Der Freischutz" " Strauss . Tone Poem, Tod und Verklarung" ("Death and Transfiguration"), Op. 24 Songs with orchestra: Humperdinck . "Es schaukeln die Winde" ("The Winds Rock") d'Albert Mediaeval Hymn to Venus Liszt . Symphonic Poem, No. 3, "The Preludes" (after Lamartine) SOLOIST ELISABETH van ENDERT There will be an intermission of ten minutes after the symphony 3 MEASURED BY THE SEVEREST STANDARDS OF THE GREATEST MUSICIANS, THE WMMMjk Wffil&M c 5 171 IS THE ACKNOWLEDGED .
    [Show full text]
  • Conference Program Book
    2 CONFERENCE SPONSORS PLATINUM Travel Grants from the Savada Family in memory of Morton J. and Lila Savada GOLD The MediaPreserve Nauck’s Vintage Records Texas Tech University Libraries SILVER CPS1 iZotope Memnon, a Sony Company NOA Archive Packburn Electronics Prism Sound SUPPORTING Millennia Media EXHIBITORS Alexander Street, A ProQuest Company Archeophone ATR Magnetics Council on Library and Information Resources CPS1 The MediaPreserve Memnon, a Sony Company Nauck’s Vintage Records NOA Archive Northeast Document Conservation Center Packburn Electronics Prism Sound Texas Tech Libraries and Texas Tech Press Timestep 3 ASSOCIATION FOR RECORDED SOUND COLLECTIONS ARSC Board of Directors Matthew Barton, President Patrick Feaster, Immediate Past President Will Chase, 2nd Vice President/Program Chair Danielle Cordovez, Secretary Steven Ramm, Treasurer Jenny Doctor, Member-at-Large Martin Fisher, Member-At-Large Nathan Georgitis, Executive Director 50th Annual Conference Planning Brenda Nelson-Strauss, Conference Manager Curtis Peoples, Assistant Conference Manager Timothy R. Williams, Conference Registrar Anna-Maria Manuel, Bill Klinger, Outreach Kimberly Peach, Web Editor Patrick Feaster, Conference Audio Coordinator Danielle Cordovez, Mentor Program Coordinator Local Arrangements Rich Markow, Brenda Nelson-Strauss, Curtis Peoples Program Committee Will Chase, Chair Sarah Cunningham, Jenny Doctor, Richard Markow, Curtis Peoples Education & Training Committee Curtis Peoples, Interim Chair Awards For Excellence Committee Roberta Freund Schwartz,
    [Show full text]
  • VOICE, RACE, and NATION in US MUSIC, 1890-1924 by Scott A
    VOX AMERICANA: VOICE, RACE, AND NATION IN U.S. MUSIC, 1890-1924 by Scott A. Carter A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2014 Date of final oral examination: 05/15/2014 This dissertation is approved by the following members of the Final Oral Committee Ronald M. Radano, Professor, School of Music Jerome Camal, Assistant Professor, Anthropology Susan C. Cook, Professor, School of Music R. Anderson Sutton, Professor, School of Pacific and Asian Studies, University of Hawaii at Manoa Amanda Weidman, Associate Professor, Anthropology, Bryn Mawr College i For Katie ii The more I hear, the less I know. — "Music is a Better Noise," Essential Logic iii Table of Contents Acknowledgements v List of Figures ix A Note on Transcriptions and Direct Quotations x Chapter One 1 Introduction Chapter Two 28 Anthropology, Vocal Science, and the Ordering of World Song Chapter Three 73 Forging a Sound Citizenry: Voice Culture and the Embodiment of the Nation Chapter Four 122 Bert Williams's Vocal Challenge Chapter Five 167 The Vocal Economy of Vernon Dalhart Epilogue 205 Bibliography 211 iv v Acknowledgements Like any major project, my dissertation has benefitted from the insights, critiques, and generous advice of friends and colleagues. I want to begin my acknowledgements by thanking the community of scholars in the School of Music at UW-Madison for creating programs that challenge students to produce scholarship of the highest caliber while allowing them the freedom to pursue avenues of innovative musical inquiry. I am particularly grateful for the interdisciplinary approach to scholarship afforded by the department, which allowed me to seek out and work with scholars in anthropology, history, communication arts, and Afro-American studies.
    [Show full text]
  • Jewish Influence: an Introduction
    NOTE: "The list below is available on the internet. A random sampling of the names were found to be generally accurate. Since the source is the internet, the reader is advised to also authenticate. The link is: http://www.subvertednation.net/jew-lists/ The below link from the Jewish Virtual Library contains many of the names identified on pages 36 – 38. http://www.jewishvirtuallibrary.org/jsource/US- Israel/obamajews.html Jewish Influence: An Introduction We have been accused of having “Jew on the brain”; of being negatively obsessed with the Jews, and of being “anti-Semitic.” Yet Jewish influence over the affairs of the world are undeniably powerful, far out of proportion to their numbers. Their role in shaping public opinion through their media interests, and their mastering of the world of business and trade is pivotal to the world economy. As a group they are the most successful in terms of income and wealth and they have reached the highest echelons or the pinnacle of power in every field. Jews are the masters of Hollywood, they are the masters of all forms of media, radio, and television. They are masters of trade and commerce and banking, medicine, and law. The following lists we believe prove this reality. Jewish Lists The lists below are available on the internet. A spot check of several of the names found it to be generally accurate, though we cannot vouch for ALL of the names, and some titles may be out of date. The second list claims to be updated in 2012. They are followed by quotes on Jewish control.
    [Show full text]
  • CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. ROBERT BLASS [bs]. New York City, 1867-Berlin, 1930. Born of German parents, Blass studied first as a violinist and then voice in Frankfurt with Julius Stockhau- sen. His debut was in Weimar, 1892, as King Henry in Lohengrin and he was soon heard in many of Germany’s leading houses. Covent Garden and the Metropolitan Opera first heard him in 1900 and he sang in New York through 1910 and again the seasons of 1920-22. From 1913 to 1920 he was with Berlin’s Deutsche Opera and he taught in Berlin until his death. Blass made few recordings, these for Victor in 1903 and Edison in 1905. 9165. 2M Wax Edison B-48. MAGIC FLUTE: In diesen heil’gen Hallen (Mozart). Announced by Blass. OBT. Just about 1-2. $75.00. ALOIS BURGSTALLER [t]. Holzkirchen, Germany, 1872-1945. Trained as a watchmaker, Burgstaller was heard by chance and encouraged by Cosima Wagner. He made his stage debut at Bayreuth in 1894 in a small role, and from 1896 to 1903 he appeared there in various principal parts such as Siegmund, Parsifal, and Siegfried. In addition he sang at Covent Garden, in Paris and Moscow, as well as in other major Euro- ROBERT BLASS pean operatic sites.
    [Show full text]
  • VOCAL CYLINDERS 2M WA = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    VOCAL CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction orange box and printed top. All others in clean, used box. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Man- hattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career contin- ued into the mid-1920s, when she retired to Buenos Aires and taught. 9269. 4M Edison BA 28137. TOSCA: Vissi d’arte (Puccini). Repro B/T. Cons. 2. $25.00. BLANCHE ARRAL [s]. 9270. 4M Edison BA 28116. MIGNON: Je suis Titania (Thomas).
    [Show full text]
  • ARSC Journal, Spring 1991 35 Operatic Vitaphone Shorts
    THE OPERATIC VITAPHONE SHORTS By William Shaman On 6 August 1926 "Vitaphone," the latest commercial sound-on-disc motion picture system, made its debut at the Warners' Theater in New York City. The feature film that evening, "Don Juan," with John Barrymore and Mary Astor, was a lavish costume picture with a pre-recorded soundtrack consisting of synchronized sound effects and a Spanish-flavored score written by Major Edward Bowes, David Mendoza, and Dr. William Axt, played by the New York Philharmonic Orchestra under Henry Hadley. There was no spoken dialogue. Eight short subjects preceded "Don Juan:" Will H. Hays, president of the Motion Picture Producers Association, welcoming the Vitaphone in a spoken address; the Overture to Tannhauser played by the New York Philharmonic, again with Hadley conducting; violinist Mischa Elman, accompanied by pianist Josef Bonime, playing Dvorak's "Humoresque" and Gossec's "Gavotte;" Roy Smeck, "Wizard of the Strings," in a medley of Hawaiian guitar, ukulele, and banjo solos; violinist Efrem Zimbalist and pianist Harold Bauer playing the theme and variations from Beethoven's "Kreutzer" Sonata, and three solos by singers Marion Talley, Giovanni Martinelli and Anna Case. By all accounts, the show was a resounding success. A steady flow of shorts and part-talking features would follow, beginning with the second Vitaphone show on 7 October 1926. On 6 October 1927 "The Jazz Singer" premiered in New York. The other major Hollywood studios, anticipating a favorable public response to sound films, had been involved in clandestine negotiations since 1926 and now were scrambling to secure a share of this lucrative new market.
    [Show full text]
  • EDISON DIAMOND-DISCS SS=Early “Smooth Surface” (Laminated, 1912-1915); RC= “Edison Re-Creation” Paper Label (1921- 1924); ER= “Edison Record” Paper Label (1924-1929)
    .CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. BESSIE ABOTT [s]. 9360. Edison 2-M Grand Opera B-23. FAUST: L’air des bijoux (Gounod). OBT. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with suc- cess in South America, Russia, Spain, Eng- land and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indi- cates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career contin- ued into the mid-1920s, when she retired to Buenos Aires and taught. 9336. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). Repro B/T. Just about 1-2.
    [Show full text]
  • Metropolitan Opera House Grand Opera Season 1918-1919 Program
    Barrientos Not since the days of Adelina Patti has a coloratura-soprano won such world-wide renown as Marie Barrientos. Milan, Paris, London, Petrograd, Buenos Ayres, Barcelona and New York have all acclaimed her splendid voice and artistic gifts. The intricate delicacies ofcolora- ture vocalization, the almost un- believable range of many operatic masterpieces, the intuitive gift of interpretation— all unite in the art of Barrientos. Barrientos makes records for Columbia exclusively. Her Columbia Records, played on the Columbia Grafonola give you every golden note, perfectly mirrored. COLUMBIA GRAPHOPHONE CO, ^«s«Ktn Barrientos as “Marta” SEASON 1918—1910 1 METROPOLITAN OPERA COMPANY LESSEE QIULIO G ATTI-C ASAZZ A GENERAL MANAGER PRINQ FUR Otto H.Kahn Chairman Edmund L. iajlies Shoulder Capes, Wraps Rawlins Li. Cottenet and Dolmans, also the Paul D. Cravath popular animal Scarfs T. DeWitt Cuylen in Russian and Hudson Robert Goelet Ray Sable, Fisher, Silver, Frank Gray Griswold Blue, Cross and other Alvin W Krech Foxes Clarence l i.k'Iackay Edvvcird T. W.K.Vander-Ijilt Harry Payne VVhitney Henry RogepsWintlpp Dry Cold Storage for 3SE Heavier Winter THE THEATRE MAGAZINE CO. 6 East 39th Street, New York Has the exclusive right and privilege to Furs at print and publish this programme 2 % 3M Fifth Avemume Between 35tli and 36tli Sts. Telephone, Gi:eeley — 2044. ; ' :: : METROPOLITAN OPERA HOUSE ANNOUNCEMENTS I SUNDAY EVENING, MARCH 30th AT 8.30 O’CLOCK GRAND SUNDAY NIGHT CONCEhT AT POPULAR PRICES soloists: PAULA PARDEE PIANISTE MARGUERITE NAMARA SOPRANO HIPOLITO LAZARO TENOR Together with the Entire Metropolitan Opera House Orchestra UNDER THE DIRECTION OF ADOLPH ROTHMEYER Programme 1.
    [Show full text]
  • Slow Emotions La Expresividad Emocional De Las Imágenes En Movimiento Lento
    1 Slow Emotions La expresividad emocional de las imágenes en movimiento lento Doctorando Abel Hernández Pardo Directores María José de Córdoba – Dina Riccò Dpto. Dibujo UGR – Dipartimento di Design. Politecnico di Milano 2 Editor: Universidad de Granada. Tesis Doctorales Autor: Abel Hernández Pardo ISBN: 978-84-9163-894-0 URI: http://hdl.handle.net/10481/51874 AGRADECIMIENTOS. Quiero manifestar mi gratitud a las personas que me han acompañado y aconsejado en el trascurso de la investigación, en especial a mis tutoras María José de Córdoba, de la Universidad de Granada y Dina Riccò, del departamento de Design en el Politecnico di Milano, de las cuales tanto sigo aprendiendo y a las que les debo horas y horas de paciencia en la orientación de la investigación. A Irene Toca mi compañera y amiga, una persona amarilla que irradia luz, sin ti esto no hubiera sido posible, gracias eternas por alumbrar con una sonrisa los días grises, por inspirarme en las largas noches de conversaciones sobre sinestesia e ideaestesia, y por estar dispuesta a regalarme lo que más vale en tu vida, tu tiempo. Y por supuesto a Sean A. Day y Victor Parra por las indicaciones profesionales. 3 Introducción La creatividad no es propiedad de los artistas. Es un elemento básico del carácter humano, no importa en la cultura que te encuentres ni donde vivas. Bill Viola. (Utrera, 2011) Claude Chabrol1 sugiere que existen dos tipos de directores, los poetas y los narradores, los segundos son los que directamente se adscriben al término narrar, contar la historia, pero los primeros son denominados también, Poetas de la imagen, se adscriben a términos más cercanos a las sensaciones, las emociones y a la creación de transcripciones a través de imagen y sonido; utilizan o se basan en otros valores con los que expanden el campo perceptivo y comunicativo.
    [Show full text]