Letters and Art (Continued from page 18)

Radio Rejuvenates the Looking Backward on Art In New York the December Microphones Will Bring Carefully Edited Xn cooperation with the Museum of Modern Art, the American Federation of Arts on Portions of the Popular Works to the Air Saturday night, December 8, will recreate a scene from twenty-one years ago. The ma­ By CARLEION SMITH terial, in dialog, is part of the "Art In credible actions can take place America" series, and will be broadcast over on the stage, and the orches­ WJZ at 8 o'clock. trations should be written so From the middle of February to the mid­ that the words can be heard dle of March, 1913, the armory of the 69th and understood. The story, in Regiment in New York was the scene of a other words, is of coordinate revolutionary exhibition. Sponsored by the importance with the music, and Association of American Painters and not secondary." Sculptors, it was called the International No attempt will be made to Exhibition of Modern Art. It introduced change the music in these modern art to the American public. The presentations, except where works of the most radical European and there is a slight difference in American moderns were shown, with a back­ accent on account of the En­ ground of paintings by forerunners of the glish text. The aim is to bring movement. the favorite tunes of opera to Most critics, and, curiously, most artists, the whole public in an under­ greeted the exhibition with ridicule and standable and vital manner. abuse. The public in general, following Wilfred Pelletier Eddie Cantor One of the chief obstacles is that cue, considered the Armory Show, as to find singers who can success­ it came to be known, as something to laugh K^nockinr g opera down and counting it out fully project the English language. The at and over. To a large group of almost always has been profitable sport in the slightly "shop-worn" names which have despairing younger artists, it was a rallying- press. Stars quitting the opera-house for won renown singing the roles in our opera- point, and the beginning, in this country, concert careers often have ordered wreaths houses are, in most instances, foreign. of a vigorous art. for its grave. Epitaphs are written annually, There is a plenitude of undeveloped natural The program will include discussion of proclaiming that it has outlived its useful­ voices in this country. Such a series as this the conditions in art circles in this country ness, that it is a symbol of the classes and of should aid in bringing these voices to the which brought about the Armory Show. a forgotten era. It has held on to antiquated fore. procedures and traditionalized attitudes , returning from an ex­ Dancer Begins Engagement which long ago were discarded from the tended vacation abroad, has planned four spoken drama. Yet it persists. Its life is excellent broadcasts with the New York x\.ngna Enters, dancer, after a brilliant in its tunes. They seem to go on forever. Philharmonic-Symphony for Sunday after­ tour of the Middle West and New England, In truth, opera is not dead. It may be noons in December. begins her first New York engagement for on its last legs in America, but they are For his opening program, he will do this season on Sunday evening, December good strong legs, and they carry it around Gluck's "Orpheus and Eurydice" in con­ 9, at the Booth Theater. the country with the speed of Seven League cert form, and, then, sensing the popularity The most impressive of her sketches— Boots. of the greater Richard, and the need to have "Aphrodite" and "Antique a La Frangaise" A radio sponsor, upon the advice of his his music performed by a superlative body —have aroused vast critical praise while she advertising agents, has just replaced a of orchestra men, Mr. Walter has wisely was on tour, and the latter sketch is ex­ highly successful comedian (Eddie Cantor) chosen long excerpts from "The Flying pected to bring from New York critics of with an opera series. The first Sunday Dutchman," "Lohengrin," "The Valkyrie," her work a similar outpouring of praise. evening in December, Wilfred Pelletier, "Siegfried," and "Parsifal." The broad­ "Antique a La Frangaise" is a wickedly conductor, lifted his casts as scheduled for Sundays at 3 P.M., shrewd portrait of Sans Gene, who rose baton over a chorus, a large orchestra, and Eastern Standard Time, are indicated in from the washtubs to the Tuileries during a distinguished group of soloists assembled the accompanying box. the reign of Napoleon. Miss Enters has at great expense to sing a "renovated" ver­ contrived a portrait which blends satire, sion in English of Verdi's "Rigoletto." acid wit, and a little sympathy. She is con­ temptuous, and, at the same time, touched Every week thereafter, another opera from Sunday Opera Broadcasts the standard repertoire will be presented. with pity. It is a summation of the frailties Dec. 9—"Orpheus and Eurydice," with of all the many peasant women, who, The familiar arias, the melodic bits which Maria Olszewska, contralto, as throughout history, have risen to power. have found their way into school song-books Orpheus. around the country, and have made Dec. 16—Prelude and Good Friday Spell from "Parsifal," with Paul famous, will be arranged in sequence, and Althouse and Emanuel List. Another Art Scholarship fitted into a sixty-minute period. The long Act I, Scene 4, from "Siegfried," recitatives, of historic interest only to those with Paul Althouse and Marek x\.nother of the Raymond Fund scholar­ who understand foreign languages, will be Windheim. ships has been added to the already long omitted. Dec. 23—Overture and Act II, Scenes list, with the endowment of a fund to cover 4 and 5, from "The Flying Dutch­ the tuition of one pupil from the high-school Deems Taylor has charge of the English man," with Gertrude Kappel, division of the Raymond lecture classes translations, and of arranging the dialogs Frederick Schorr, and Emanuel through the first year in the academic school to make the librettos seem as li^j^ as tho List. of the Art Institute of Chicago. The whole they had been written yesterday. Mr. Tay­ Act III—Final Scenes from "The Valkyrie," with Gertrude Kappel fund, of 1200,000, established by Mrs. Anna lor has been successful in creating operas and Frederick Schorr. Louise Raymond in memory of her husband, of his own which have filled box-office cof­ Dec. 30—A "" Overture. became operative in February, 1926, and, fers, and his experience as a critic and a Preludes to Act I and Act III from at the beginning, provided fourteen weeks writer will be invaluable to him in this "Lohengrin." of art lectures, and demonstrations annually present work. He often has stated his be­ Act I from "The Valkyrie," with for 500 grade-school children. Since then, lief that to survive, opera must be written Lotte Lehmann, Paul Althouse, and Emanuel List. the activities under the fund gradually have in the language of the people, and that been extended. "operatic music should be timed so that 22

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