Irfe-- THAT ' ' " WOMAN J" ' J E L UA Iluivf

Total Page:16

File Type:pdf, Size:1020Kb

Irfe-- THAT ' ' THE SUNDAY OIM'OOMAX. TOHTLAND, APRIL lf, 1005. NEW YORK POPULACE IS FAITHFUL TO FOUR PLAYS The season of sewing Iq the household Is at hand with an ELECTRIC MOTOR to drive your sewing machine and "The Witching: Hour," "Paid in Full," "The Honor of the Family" and "The Thief" are the Season's Hits an ELECTRIC FLATIRON to do the pressing, the results J II are Economy, speed, no backache from running a ma- chine, and no tiresome trips to the kitchen to get a hot Iron THE JL ELECTRIC RS?-- &&P& ill 1 I jejovarinf zrt !'. .1 V' ' f - . , tfjTJ Vjl THE ' ' " ' -- ' : FLAT IRON - I '! l) ' - - v- - ' r-- i' V A! --ri 'A r, ruPfes.irfe-- THAT ' ' " WOMAN J" ' j e l UA ilUiVf l it v r;; v - II use We Will Send You a Flatiron on 30 Days Trial FUl in coupon and mail to lis the Iron will be delivered, with all necessary equipment, absolutely free of charge. X'T out coitoji Awn mail to im 'today. PORTLAND RAILWAY, LIGHT & POWER CO., Flrat an4 Alder At., Portland, Or. Tou may deliver to me one Klertrld flatiron, whltih0nt1mn:I auren to try, and If unaat Isfaotory to me to rot urn to you within 30 day from date of delivery. If I do not return It. at that time you may chari ame to my aorount at $4. 05. Tt la under t nod that no charge will be made for the iron if I return It within 30 days. Name. A'ldreM . I jiff -- .. ui, jl j jJJf? A .'.V B tt r.,,r,, A. iS.. J.'- . ; . i.,Mf. ...V ": V-- I The thirty days' trial offer applies only to consumers of our Current. BY EMH.1H FRANCKS PAI'KR. ho o mtirh of 8 one that the bnl- - ii f hn y 1' H YORK, April 12. (Spcrlal nnop of t lie play 0 warily dl!tnrbc(h , On Sale in Portland at Company's Supply Department, 147-1- TMito It much In an 13 , .: & - .;, v v , ftfyfax NSW ) Thinpa aro quiet InR birm the work r ' fl 6688, A 5517 of In plclnr- - H ' " " v.:;- 1,1 Seventh Street. Call Telephone Main for information In 'Mm theatrical world. It in thro niit nrsslty bo a t f A, ' of hut It Is tiro- - ' ' ' t pnio thine this sort, n .' " m'ii' i'i'i'm rn hor too ea rl y prohir-tlon- a . ,''1!", - m ffr Summer . , T r t i - min wmm m m i i ii and It Is lato to s(no now plays, althoiish thoro aro a In tho of a flpnro for I still number of nets prosonrf g A RAILWAY, LIGHT Important ones to bo trlod nut this whom one wmihl rathf-- shod tcara than 3SSB15S!!&W!9V?9I4P&&TS Jkj PORTLAND S POWER CO. Kprlna Tho attrnr-tfon- ("' popular whlrh , - TULLY MARSHALL, Include "The Wlfrhlnff Hour." "Paid In ,w..Jaii,i,.i .ii .i .... ... ;. y- CI lo Main at., ORtcr;o ffTY, or. Full." "Tho Honor of the Family" and BRANCH I'ortland Boolevard. ST. JOHN, OR. Tho Thlof" abate not In tho ttllRhtvat OFFICES "1 . W. nr. 9a( nd t'ommerrinl Htn 9 A I, KM, doff reo. P..u, mm Main St- - VANCOUVER, WASH. Otis Skin nor is not a now Mir on tire - - tho Amorh an Mapr, but the hold which i r- "i- .mTTm." 1 ho has gained on Now ;tttI tho York puhllo In this play nuikoa even Fr Mahler's (treat produotlon of "Don Gio- Butler Poat. O. A. R., fiunnyalde, held a the warmest adherents of Rb'har.l Mansfield say vanni.' th part sung before, by Mmft. social meeting after t regular business that t hero has boon no etieh rorniir (Jadskl, and on the closing night of the meeting Thursday afternoon, to which rhnraetorl.atinn as Mr. Skinner's opera ahe was again cast for Ieonore with Caruso r Manrlco. The prophecy the Benjamin Butler Poat was invited. Colonel Hridau since Mansheld's host The women aerved a dainty lunch, after days. Ralxae'n .Houaehold" ' v waa more than fulfilled. h made an admirable vehirle for the 11.7 ;? ' - V"' , I V vf which a ahort programme was much Interesting Am or Iran ator and one firiV w; Ilellef Corps Entertains G. A. It. It la intended by these organisa- wonders why more of the wonderful tions to hold such a meeting once each, Vroneh novel 1st s works are not made TH Woman's Relief Corps, of Benjamin month. to norve tho same purpose. No writer of modern times has loft- - a .larster leiraey to the world : no writer has drawn more toiliuff characters, and as lonp as a !a izae novel has bee. If1 ft iindra ma t izcil t hero should bo no lack of intercut iiir" material. Alas! too many MEM of the play are deadly dull and have not FROCKS tho sliRhtest reason for existing ex- cept for one or t wo "si t nations" for some foot Mp lit favorite. This sort of thlnjr. however, is far too ephemeral to stand for anything In th world of thin which are worth while and These charming: Suits emphasize the fact that which count. rep- Perhaps the most remarkable atory our styles are absolutely correct, that they la that of "Paid In t nil," which over nicrht ma do the author famous. No resent the best tailoring:, that our goods are of one thought very much about It when qualify, ex- It was announced, and it is doubt f til the most superior and our prices that Wagon ha Is and Kemper realized em- - what they had, although they wore tremely moderate; in fact, clover enough to produce It where al- considering: most every manager in New York had phatically low the to ue a colloquialism "turned it down." It turned up at the Astor high quality standard we and the next morning there was not a dissenting voice as to its merits. resolutely maintain. There is no posslhilit y to got seats within several weeks and the mere that Mr. Walter has an- other play ready for presentation has st i red the managerial world as well as the audiences. The now plsys of the week are "The RohI Mounted." with Cyril fcott in the In these beautiful suits ra- prim ip! role and "l"on Quixote," with economy is Combined K. IT. Sot hern as tho leading spirit tional "Tho Hoynl Mounted" was presented with artistic designing in in- on Mond.iy night and prove! a fine vehicle for Cyril 'ott who won instant terpreting the early Sum- ta vor aa Victor O' Hyrne in a stirring play of the Canadian Northwest, by mer modes. They are in all Voil R. and William C. IV Mille. The shades; light green, larrick Theater was filled with an audi- the new ' ence whoso grew as acts r "THli 11, lav- enthusinm the r i ii ii ii I m i mmm i msv ! 1' 1 J. 1 I blue, tan, linen, brown, moved on. and that melodrama or n l x, ,jm . still holds its own will not ender, etc.; prettily trim- bo questioned by any one w"ho was present. The story deals with a man who med in contrasting linen has lH'en murdered by one who ia un- embroidered col- known for tho greater part of tho piny bands and and who must be u n ea r t bed by Victor lars; there are jacket suits, ( ' Hyrne, Lieutenant in the Royal Mounted. For this he is to be made treat with laughter. Of the play there organization next season but would played it, but "Mr. Conried gave me the overblouse' or jumper suits, Captain and to be reinstated in his Is indeed little to be said, but of Mr. probably accept one of several flattering hope that some day I might sing it and and princess effects. Prices lather's affections, lost through his re- Sot hern's Impersonations, as In all of offers which she has had to go nto light therefore I had the costumes made, said fusal to marry according" to the dictates this actor's Impersonations.' there is opera. sung 6S Mme. Jacoby. During that trip Mrs. s ten- Mme. Jacoby. who has ahe sang not only $60.00 down to $10.00. of his fat her heart. every element of refinement and of times this year in New York and who Homer took sick and At tho moment of uncovering tho mur- derness, which makes this role the more company, will Amneris but also Suzuki in "Madam is now on tour with the In derer he finds that it is the lumberman appealing. Mr. Buckstone as Sajicho be- Butterfly," Nancy "Martha," and the make a concert tour in the Fall, but Gretel," with- brot her of the girl with whom he hast Fan an provided much merriment and fore she will decide whether or witch in "Hansel and and fallen in love, and after being in tho furnished all the laughs in the play. that out orchestral rehearsal, and the per- repre- not to allow one of two composers to the man makes clear to But there was much more in his write an operetta for her, or whether formances following each other almost Me O" Byrne the reason of the act. which was sentation than buffoonery. There was daily. she will go back into concert and ora- e to protect his siater from the hands of a much that was pathetic in his is a strange coincidence to his in torio work.
Recommended publications
  • 029I-HMVCX1924XXX-0000A0.Pdf
    This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904.
    [Show full text]
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
    Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1.
    [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]
  • William R. Moran Collection PA Mss 57
    http://oac.cdlib.org/findaid/ark:/13030/c8sj1m6p No online items Guide to the William R. Moran collection PA Mss 57 Finding aid prepared by Pearl Ko, 2011; encoded by Zachary Liebhaber, 2011. UC Santa Barbara Library, Department of Special Research Collections University of California, Santa Barbara Santa Barbara 93106-9010 [email protected] URL: http://www.library.ucsb.edu/special-collections 2011 Guide to the William R. Moran PA Mss 57 1 collection PA Mss 57 Title: William R. Moran collection Identifier/Call Number: PA Mss 57 Contributing Institution: UC Santa Barbara Library, Department of Special Research Collections Language of Material: English Physical Description: 84 linear feet(169 document boxes, 15 flat boxes) Creator: Moran, William R. Date (inclusive): circa 1860-2004 Date (bulk): 1900-1950 Abstract: Personal papers and collection of discographer, author, and philanthropist William R. Moran. Collection includes sound recordings, photographs, and ephemera as well as manuscripts and research files, including files on singers and correspondence with singers, discographers and others. Physical Location: Special Research Collections, UC Santa Barbara Library Access Restrictions The collection is open for research. Use Restrictions Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained. Preferred Citation [Identification of Item], William R.
    [Show full text]
  • ARSC Journal
    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.
    [Show full text]
  • Signerede Plader Og Etiketter Og Fotos Signed Records and Labels and Photos
    Signerede plader og etiketter og fotos Signed records and labels and photos Soprano Blanche Arral (10/10-1864 – 3/3-1945) Born in Belgium as Clara Lardinois. Studied under Mathilde Marchesi in Paris. Debut in USA at Carnegie Hall in 1909. Joined the Met 1909-10. Soprano Frances Alda (31/5-1879 – 18/9-1953) Born Fanny Jane Davis in New Zealand. Studied with Mathilde Marchesi in Paris, where she had her debut in 1904. Married Guilio Gatti-Casazza – the director of The Met – in 1910. Soprano Geraldine Farrar – born February 28, 1882 – in Melrose, Massachusetts – died March 11, 1967 in Ridgefield, Connecticut Was also the star in more than 20 silent movies. Amercian mezzo-soprano Zélie de Lussan – 1861 – 1949 (the signature is bleached) American tenor Frederick Jagel – June, 10, 1897 Brooklyn NY – July 5, 1982, San Francisco, California At the Met from 1927 - 1950 Soprano Elisabeth Schwartzkopf – Met radio transmission on EJS 176 One of the greatest coloratura sopranos. Tenor Benjamino Gigli (20/3-1890 – 30/11-1957) One of the greatest of them all. First there was Caruso, then Gigli, then Björling and last Pavarotti. Another great tenor - Guiseppe di Stefano (24/7-1921 – 3/3-2008) The Italian tenor Guiseppe Di Stefano’s carreer lasted from the late 40’s to the early 70’s. Performed and recorded many times with Maria Callas. French Tenor Francisco (Augustin) Nuibo (1/5-1874 Marseille – Nice 4.1948) The Paris Opéra from 1900. One season at The Met in 1904/05. Tenor Leo Slezak (18/8-1873 – 1/6-1946) born in what became Czeckoslovakia.
    [Show full text]
  • The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
    The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918.
    [Show full text]
  • September-2016-Auction.Pdf
    78 CLASSICAL GALLERY CLASSICAL RECORD AUCTION No. 2 CLOSING DATE: SEPTEMBER 30, 2016 NEW AUCTION AUCTION CLOSING DATE: SEPTEMBER 30, 2016 Here you will find a list of early 78 rpm recordings of interest to every level of collector. Most items are focused on Classical selections from the 1898- 1940 period, some a bit more common but of really nice condition. The condition of grading employed here is: CONDITION GRADING: 1: UNPLAYED 1-2: TOP CONDITION 2: VERY FINE COPY- A FEW RUBS OR MARKS, NO NEEDLE WEAR 2-3 SOME RUBS, NON-SOUNDING BLEMISHES, NO NEEDLE WEAR. 3: SOME HEAVIER RUBS, MARKS, NO-SOUNDING BLEMISHES. AN AVERAGE COPY 3-4: LIGHT-SOUNDING WEAR (GREYING), RUBS. 4: SOUNDING WEAR, RUBS, MARKS 4-5: WEAR, RUBS, MARKS 5: OBVIOUS SOUNDING WEAR, HEAVY RUBS, MARKS 5-6: HEAVY WEAR, RUBS, MARKS 6: A WRECK! ONLY LISTED FOR EXTREME RARITY. As you can see, I’ve used Larry Holdridge’s grading scale as it seems to be the most universally accepted and understood system. However, if there are any questions, please feel free to call or e-mail for more clarification. This list is also posted on my website: www.78classicalgallery.com. Please submit bids either electronically through the website, or via USPS mail. Either are welcome. In the meantime, enjoy your perusal of these items. Good luck! Best wishes, David Schmutz # Image Name Artist Selection Min. Bid CLYINDERS FRENCH PATHE #3496 AFFRE: HUGUENOTS- PLUS PATHE SALON BLANCHE (MEYERBEER).- 1902 BLACK WAX, WRITING ON CYLINDER: AFFRE- RIM A BIT FADED AND RUBBED. IN ORIGINAL CASE WITH 1 AFFRE $200.00 HUGUENOTS ARIA ORIGINAL LID.
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO
    PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 21, 2016, at 8:00 Saturday, April 23, 2016, at 8:00 Tuesday, April 26, 2016, at 7:30 Falstaff, Lyric comedy in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito, after William Shakespeare’s The Merry Wives of Windsor and parts of Henry IV Riccardo Muti Conductor CAST Sir John Falstaff ............................................................................Ambrogio Maestri baritone Ford, husband of Alice ................................................................................. Luca Salsi baritone Fenton ................................................................................................................Saimir Pirgu tenor Doctor Caius ................................................................................................... Saverio Fiore tenor Bardolfo, follower of Falstaff ...............................................Anicio Zorzi Giustiniani tenor Pistola, follower of Falstaff..................................................................... Luca Dall’Amico bass Mrs. Alice Ford .................................................................................Eleonora Buratto soprano Nannetta, daughter of Alice and Ford ..................................................Rosa Feola soprano Mrs. Quickly ................................................................... Daniela Barcellona mezzo-soprano
    [Show full text]
  • Blanche Partington
    TH£ SAN FRANCISCO; CALL;i,SUNDAY,,!OCTOBER IS^ 1905:;; 19 WITH THEBLANCHEPLAYERSPARTINGTONAND THE MUSIC FOLK Merely Mr. Zangwill in the drama of jone of Henry Miller's sumptuous seasons, week lif the usual strenuous fashion of "La Sonnambula." In the larger cities this week is not wholly inspiring con- iwhen Miss Anglin so startlingiy discov- the house. •" Miss K.eisen* will also sing in "I Pag- sideration. ered her particular genius. New York liaccl' and "Cavallerla Rustlcana." Mis* *" The second of Mr. Zang- j ' - accompanied by saw that "Camille," with an almost May Howard's Burlesque \u25a0 Company, Nielsen will be a smalt wiirs efforts to be seen here, Jater . European identical It is amusing hiow to re- announced \u25a0 will organization of distinguished Mary Ann," is now : cast. as- great, -begin -a on the local market. :call what was said of it. The consensus week's engagement "at the California artists and by an orchestra of forty The first. 'The Children of the Ghetto," the play pieces." — Iof the critical opinion was that to-morrow evening. ' . • given • -' • • was here some few years ago Iwas eld-fashioned Anglin • * :- chiefly memorable, remembers, and that Miss one for jlooked odd in a black wig.'\u25a0 Perdie, we All roads lead to the Orpheum,' and v"I went into an asylum for tho I»s«aS. a superb picturing of the rabbi therein have told them too. But this week last summer," said Harry Bulgef <it by Lackaye. , could that. Marconi's wireless; teleg- Wilton «: ;there was just much more that they raphy Woodland company, "and as an evidence "Merely Mery the will reach there in the hands Ann" was one of the jhave now discovered (with naive pride) of Captain Bloom, will of the remarkable hold the automobile who illustrate public powers successes of the season before last in | then a-smok'e under their critical nos- tho has on the the that be tn London.
    [Show full text]
  • Adobe Photoshop
    KUNKEL'S MUSICAL REVIEW, OCTOBER, 1895. 73 NEED OF STRENGTH. FRANZ ONDRICEK. said, "Here, this is my second Wicniaw:oky!" Ondricek remained in France for the •following There is an organic relation between strength Franz Ondricek was born in Prague, where his two years, while he played in a number of the Pas- and singing, says a writer in the New ). ork .Aclve1·- father was a musician, and while quite young he Ideloup Concerts in Parts, as well as in all the repre­ tiset. 'l'he mere production of song demands but was compelled to assist his father to earn a. living sentative concerts in Bordeaux, Lyons, Marseilles, the exertion; of singing and acting together de- for his family. In his seventh year he was advanc- Brussels. Nizza, and other French cities. Later be mands an expenditure of vital force almost as great, ed sufficiently to play violin concertos, principally played for the London Philharmonic ::iociety, wht>re if not equal to, the hardest physit allabor. There Ithose by De Beriot. In his fourteen til year he was Ihe achieved an enormous succes!', so much so that be are many parts in grand opera, and even light op- admitted to the Conservatory, where he made won- has played with that society almost every season for era, which are simply exhausting to a weak or derful progress. He not only studied music, but the last ten years. sickly man or woman. 'l'h is is a reason why EO was also instructed in literary branches. .Aftt'r three After his London succel:>S Ondricek was beard in many charming vocalists, who are simpiy superb years Ondricek received the first prize for his the leading German ciLies, such as Vienna.
    [Show full text]