Jl. .ßekijmet yfteienti . .. NELSON EDDY ... APRIL 30, 1 943 ARTUR RUBINSTEIN . MAY 2, 1943 VOL. XXXIX NOS. 45-46 L. E. BEHYMER Presents /leUxMi BARITONE and THEODORE PAXSON Pianist FRIDAY EVENING, APRIL 3 0, 1 9 4 3 PROGRAM I. "Lascia ch'io pianga," Recitative and Air from Rinaldo................................ Georg Friedrich Handel , (1685-1759) Rinaldo, believing himself wronged by Armida, turns to his God for consolation. The opera is the first that Handel composed in England and is said to have been written completely in a fortnight. It is noted for its fine musical line and classical style. Papagena! Cara! Bella Tortorella!" Wolfgang Amadeus Mozart Scene from The Magic Flute (1756-1791) Papageno, the bird-catcher, bemoans his inability to find his beloved Papagena. He plays his pipes repeatedly, but without answer. Three genii appear and remind him to play on his bells, and lol, Papagena appears. II. My Native Land................................................... Alexander T. Gretchaninoff 1 (1864- > This is a short song—of only fourteen bars. But its eight verbless phrases seemingly have the magic power to spread all of Russia before you. The thought was originally expressed by Count Alexis Tolstoi and the English version is by Deems Taylor and Kurt Schindler. The Bells of Novogorod................................................... Russian Folk Song To study Russian folk songs is to discover scores of themes which achieved lasting fame in Russian operatic and symphonic works. This theme was used conspicuously by Moussorgsky in Boris Godounoff. The Old Corporal.................................................. Alexander S. Dargomizhsky . (1813-1869) this certainly is not a pretty song, but one that is tensely dramatic. The old corporal is being escorted to the wall by a faltering firing squad, composed of his comrades. He urges them to keep step, perform their duty bravely—and hold a kind thought for him. The Miller............................................................... Alexander S. Dargomizhsky In complete contrast to the Old Corporal, Dargomizhsky shows his humorous side. The miller, not too sober, returns home to suspect his wife of not being too constant. The Moon is High, from Aleko...........................................Sergei Rachmaninoff (1873-1943) Composed at the age of nineteen, Aleko is Rachmaninoff's first opera. It reveals an individual style which was retained in later works. In this aria, Aleko dwells upon his unhappiness, caused by the fickleness of Zemfira, his loved one. Piano Solos Poissons d'Or (The Gold Fish)......................................Claude Achille Debussy Serenads a la Poupee (Serenade for the Doll) . Claude Achille Debussy Jardins sous la Pluie (Gardens in the Rain) . Claude Achille Debussy „ , . (1862-1918) Debussy did more than bring a new scale and new harmonies to the musical scheme which had prevailed up to his time. He restored the practice of 18th Centurv French composers of making music an illustrative art and a means for recreating in sound impressions of the outside world derived through other senses. MR. PAXSON INTERMISSION (Continued on Page 9) Page Seven THE B E H Y M E R 19 4 3 19 4 4 SEASON A Review of Artists will be found on the following pages Page Eleven 1943 BEHYMER DE LUXE COURSE SEASON 1944 COLUMBIA ALL-STAR QUARTET Great Voices Great Obera Music — Great Entertainment Gala Opening November 16, 1943 In the firm belief that a Quartet Vocal Ensemble must have perfect balance, the Columbia All-Star Opera Quartet is presented only after thorough rehearsals, and is touring as a unit of four great voices, yet including on the carefully selected program famous arias and duets, as well as quar­ tets from favorite operas. Here, indeed, are unique, diver­ sified programs. A full program of well known numbers from the vast library of operatic music, performed by four voices each famous in operas and recitals, are here blended to make an unforgettable musical evening'. Igor Gorin, Bantone, is known to millions throughout his radio audiences on tie Kiaft Hour, his many Treasury Hour broadcasts, his numerous con­ cert appearances, and through his fast-selling record albums. He has starred m roles with the Chicago and Cincinnati Opera Companies. Nino Martini, Eyrie Tenor, has been a star of the Met for years and an idol of the concert stage and screen, and stands today at the pinnacle of his artistic achievements. His many devotees in Los Angeles will cordiallv welcome him back. 7 Josephine Tuminia, Coloratura Soprano. This young member of the Metropolitan and San Francisco Opera Companies scored a veritable sensa­ tion this season with the Chicago Opera in three leading roles, “Rigoletto ” Barber of Seville” and “Lucia.” Helen Olheim, Mezzo-Soprano, is also a member of the Metropolitan Opera, and well known through her many recitals and radio engagements. Has appeared with great success in the famous opera houses of Buenos Aires and Rio de Janeiro. This type of. ensemble harks back to earlier days in the music world when a quartet of leading voices from the Met used to tour annually across the country. There has been a public demand for its revival, because of the variety, charm, and dynamic quality in such a concert. ARTUR RUBINSTEIN High'Voltage Polish Pianist Those who are present at his recital on May 2, closing the Behymer season for 1942-1943 with such brilliance and dash will understand perfectly why Rubinstein is being returned for the 1943-1944 season. The ovations given at this concert speak louder than words why his inclusion next season is a “Musical Must.” This will be his fourth consecutive appearance in the Behymer De Luxe Series. Page Twelve 1943 BEHYMER DE LUXE COURSE SEASON 1944 CARMEN AMAYA and Her Troupe of Gypsy Dancers, Singers, Musicians Spitfire - gypsy Amaya, who exploded into the en­ tertainment world two seasons ago like an incendiary bomb, has not lost a whit of her pep, despite the diffi­ culties of travel in “dees beeg contree” as she calls it. The spontaneity, intensity, and drama which mark her performances remain, and Carmen’s dancing is still “the most sensational ever to hit America.” “Never in my life have 1 seen a dancer with such fire, rhythm and such a terrifying and wonderful personality,” cabled Tosca­ nini from South America two years ago after he had first seen her in Rio. This report so fired the imagination of Impresario S. Hurok, who is always scouting for new talent, that, contrary to his usual policy of always seeing or hearing an artist first, he cabled to Amaya and put her under contract at long range. She has rewarded Mr. Hurok’s unerring instinct. She has proved a winner in every way, the only difficulty being that Carmen cannot dance all the dates that come pouring into the New York office for her. The type of gypsy’ (or flamenco, as it is known in Spain) dancing takes all an artist has of physical endurance, nervous energy and wild spirit. Car­ men literally dances as though possessed; her eyes shoot green flames, her fingers crackle, her lithe young body pounds out rhythms that she first learned when she was four years old, in the caves inhabited by the gypsies outside of Granada. Next season will be Amaya’s third presentation under the Behymer banner. THE BALLET THEATRE “The Best in Russian Ballet” To live up to a subtitle like the above is I quite an undertaking in the face of the fine ballet companies that have toured America in the past dozen years. But proof that the Ballet Theatre has more than merited that slogan is I the fact that they will be returning to the I Behymer Series (and to the Pacific Coast in I general) in more performances than heretofore. I Thirteen evenings and matinees will be given in I Los Angeles, with new and even more striking I ballets than last season, when “Pillar of Fire”, J “Bluebeard”, “Pas de Quatre”, (to mention a | few) set a new high in choreography and glamor. Retaining all the dazzle and beauty of traditional Russian Ballet, while adding American speed and precision to its productions, the Ballet Theatre may be termed the first “big-league” troupe. In accordance with the plans of its impresario, S. Hurok, as quickly as properly trained American dancers are found, they are incorporated into the company, so that it now has some 40-odd dancers born in a dozen different states of the Union, reinforced by some of the most important ballerinas and soloists from Pase Thirteen 1943 BEHYMER DE LUXE COURSE SEASON 1944 Europe. Under the wing of veteran manager, Hurok, this company has reached the top of the balletic ladder in a miraculously short time. Determined to build a ballet of Amercian content that would vie with the best troupe which the great Diaghileff had ever developed, Mr. Hurok recruited leading dancers, soloists, choreographers and painters from everywhere and integrated them into this super-company, re­ designed the repertoire to obtain maximum variety and instilled American pep into the entire proceedings. After garnering the huzzahs of the hard-boiled New York critics last fall, the company started on its trans-continental tour, collecting more glowing encomiums from the best critics and audiences alike in the Middle West, Northwest and Pacific Coast. On their return to New York in March after this tremendous cross-country jaunt, Manager Hurok was forced by public demand to book the Ballet Theatre into the Metropolitan Opera House for an indefinite stay, and they have been performing there weekly since April 1. The large audiences who attended last season, and were thrilled by the great art and amused to a point of audible laughter by the comedy in some of the ballets, are eagerly awaiting the return of the company to the Philharmonic Auditorium, under the Behymer management.