Jl. .ßekijmet yfteienti . ..

NELSON EDDY ... . APRIL 30, 1 943

ARTUR RUBINSTEIN . . . MAY 2, 1943

VOL. XXXIX NOS. 45-46 L. E. BEHYMER Presents /leUxMi 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 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 (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 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

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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 . 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 and Cincinnati Opera Companies. Nino Martini, Eyrie , 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, Soprano. This young member of the Metropolitan and Opera Companies scored a veritable sensa­ tion this season with the Chicago Opera in three leading roles, “ ” Barber of Seville” and “Lucia.” Helen Olheim, Mezzo-Soprano, is also a member of the , and well known through her many recitals and radio engagements. Has appeared with great success in the famous opera houses of 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 ­ 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 , as it is known in ) 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. LUBOSHUTZ AND NEMENOFF Marital and Musical Partners of the Piano While Luboshutz and Nemenoff play two pianos in public, it takes three pianos to insure wedded bliss in private life. In private life they play three pianos. The charming distaff side of this duo-piano team, Genia Nemenoff, who has the chic and vivacity of her native , gives the reason for it as follows: “When Pierre and I were married twelve years ago, we pondered care­ fully how two pianists in the same family could get along peaceably. We foresaw we might both be want­ ing to practice at the same time. So we decided we must have two studios with a piano in each. But then, we had to practice together; so there was nothing else to do but get a third piano and install it in the larger studio. Now we can play together or separately, as fancy or need dictates.” Immediately after breakfast they retire to their separate studios for indi­ vidual practice. Later in the day they meet for joint practice. In the evening they frequently have guests to dinner, and they like to perform two-piano compositions. It was this informal playing for their friends that brought about the joint tours they now make. Their friends were so enthusiastic about their ensemble playing, that they induced them to undertake it on a public basis, and so the duo of Luboshutz and Nemenoff came about. They now average fifty engagements a season, but despite constant traveling, main­ tain a real home in New York. Luboshutz was born and reared in Russia, but studied in Paris, and has been an American since 1927. Mrs. Luboshutz, of Russian parentage, was born and educated in Paris, where both artists first met. This duo-piano attraction created such a sensation in the Behymer Series last season that it was a foregone conclusion they would have to be returned next year.

Page Fourteen 1943 BEHYMER DE LUXE COURSE SEASON 1944 RICHARD CROOKS Metropolitan Opera Tenor As one of the great figures of American music, Richard Crooks continues each season to maintain his outstanding record of achievement in concert, opera and radio. Yearly, seventy or more cities in the and Canada hear him in concerts. Metropolitan Opera audiences and critics applaud his frequent appearances. Millions of radio listeners form another portion of his public. His Victor Red Seal Records are among the standard best sellers everywhere. A superlative artist at the top of his powers, his interpretive gifts are versatile. His voice lends itself uniformly well to songs, opera, ballads, or religious music. Born in this country, he was co-artist with Schumann-Heink at the age of ten. He enlisted when seventeen in the 626th Aerial Squadron of World War I. Demobilized, he came to New York, made his concert debut with the New York Symphony and sang nine successive performances. Then he went to for concerts and particularly for operatic engagements, win­ ning outstanding triumphs in the British Isles and the Continent. On February 25, 1933, he made his now historic debut at the Metropoli­ tan Opera, in “Manon.” Frenetic enthusiasm of the audience was attested by the unprecedented number of 37 curtain calls. An American tenor had arrived. Since then, annual sold-out tours followed, as well as many opera roles,—Traviata, Tosca, Mignon, Romeo and Juliet, , Don Giovanni. Then came tours of Australasia and South Africa, establishing him one of the greatest box office attractions ever to appear in those countries. East year, 71 cities of the United States and Canada welcomed him. His great success here this season brought so many requests for a return, that he will be included in the De Luxe and 10-Event Evening and Vocal Courses.

DOROTHY MAYNOR Sensational Negro Soprano It’s considered quite a feat in the musical world when a singer is engaged in her first season as soloist by a leading symphony orchestra. By such reckoning, it is just four times as notable that Dorothy Maynor should have been soloist in her first season with four leading symphony orchestras of the country—the , the Boston, the Phil­ adelphia, and the Chicago Symphony Orchestras. To have a voice which most of the New York critics hailed as the discovery of the decade, and to sing for critical audiences who are used to the best, is a difficult reputation to fulfill. Yet Miss Maynor has lived up to all of the pro­ phesies of that first season, and annually makes a trans-continental tour. This will be her third appearance in the Behymer De Luxe Series. The capacity and enthus­ iastic audience at her concert in March, 1943, was practically a demand for her return in 1944.

Page Fifteen 1943 BEHYMER DE LUXE COURSE SEASON 1944 Popular Baritone The Los Angeles public generally, and the De Luxe Series patrons especially, are familiar with the story of this great baritone’s life, from the time when as a small boy he sang hymns at camp meetings at which his father, a Methodist minister, preached the sermon, until today when he is at the pinnacle of fame as America’s beloved baritone. His life has run the gamut of musical expression, and there is hardly a musical medium in which he has not figured pre-eminently. To the people of Los Angeles he is now a familiar figure, since he has adopted this city as his home, and is seen daily (when in town) on the golf courses where he indulges in his favorite sport that keeps him in perfect physical trim. He has served in radio, light opera, grand opera, and concerts, and has sung in the to shouting and applauding devotees. Covent Garden of , the Metropolitan and Companies have all taken pride in presenting him in famous operatic roles, The Barber, Amonasro, Tonio, Falstaff, and many others. His Figaro in “” is so popular that there is never a concert when he is not commanded by his audience to sing the famous aria, and they are not satisfied until he has done so. On the radio there is no more welcome voice and he has recently signed a five-year contract for weekly broadcasts. His “Good-night, Mother,” the unfailing ending on all of his broadcasts, has become famous, and has further endeared him to Americans, especially to the older generation. JOSE ITURBI Pianist and Conductor “Music at its best” symbolizes the career of the great Jose Iturbi, beloved of Los Angeles audiences who have admired him for many years as piano soloist par excellence, as well as conductor of the Hollywood Bowl Orchestra. Iturbi has always been a legitimate sensation for his pop­ ularity is based on his impeccable musicianship, dazzling virtu­ osity and dynamic personality. He is always the complete artist, no matter what the medium of his music, or what its period—classic, modern, romantic; Teutonic, Gallic, Span­ ish—he is the critic’s delight and the public’s idol. In the field of interpreting the ultra-rhythmical music of his native land, he is unsurpassed. Jose was born in Valencia, where the oranges ripen for Christmas, where the Saracenic tiles recall the days of the Moorish kings, and where the soft blue sky reflects the Mediterranean. It is no wonder, therefore, that he chose Los Angeles for his permanent home, for it resembles his native land more closely than any other part of this country. From his birthplace he absorbed the warmth and color and charm which were to characterize his music-making; but from his ancestors, the unassimi­ lated Basques who were his forefathers, he inherited a hardy individuality which was to clarify and humanize his art. Page Sixteen 1943 BEHYMER DE LUXE COURSE SEASON 1944 YEHUDI MENUHIN Violinist Extraordinary and Citizen of the World Though born in , California has proudly claimed this great but still young violinist as her own, ever since his parents brought him to San Francisco at the age of one year. Now that he has bought an estate at Eos Gatos, and is raising his family there, he is even closer to the hearts of Californians. In fact, their hearts have beaten a bit faster with pride these days not only over his magnificent playing of the past year, but over his return last week from a bomber flight to England, where he played his violin three and four times daily for a month, for ammunition workers and soldiers in camps and hospitals. (A more detailed story of this trip will be found on another page of this Magazine.) When Yehudi opened the Behymer De Luxe Series, last fall, it was instantly evident that since his previous appearance here, he had reached greater interpretive and emotional heights in his climb towards full musical maturity. The large and enthusiastic audience and the highly favorable press pointed to an unmistakable desire to hear Yehudi soon again. ARGENTINITA AND HER SPANISH ENSEMBLE With Guitarist and Pianist In Exotic Spanish, Flamenco, and South American Fol\ Dances Since the death of that rare Spanish dancer, La Argentina, some ten years ago, many have tried to find her logical successor. But the types of Spanish dancing are so unique, so individual, and so varied, that there can never be a “successor” in the full sense of that word. Each great artist of the Spanish idiom is a law unto herself; hence the two dancers, whose names are some­ what similar (since both lived in the Argentine for many years) are quite unlike each other; hence also Argentinita is different from Carmen Amaya, and vice- versa—though each is fascinating and spell-binding. Since their first appearance in this city they have won and kept a devoted following always waiting to give them a rousing welcome. Because ot the heavy demands on her time in the Latin Americas, Argentinita has had to skip the West Coast for the past season or two. She is now preparing a new and enlarged repertoire for herself and her gay troupers and musicians when they come to the Matinee Series next season.

Page Seventeen 1943 BEHYMER DE LUXE COURSE SEASON 1944 ROBERT CASADESUS “The very soul of pianism— sets new standards” When Robert Casadesus, French pianist, made his debut with the New York Philharmonic Orchestra, in 1936, Olin Downes wrote: “A sparkling and brilliant performance; especial beauty of tone.” Arturo Tosca­ nini sat in the audience that day. After the concert, the Maestro did a most unusual thing for him,—he went backstage to congratulate the artist! “I will have you as my soloist next season,” he said to the astonished and thrilled artist, conferring the accolade that brought him seven engagements in nine seasons with the same orchestra. Apparently, the playing of this pianist of “fire and poetry” made the same unforgettable impression on the Behymer Series patrons when the artist played his debut recital here a few months ago, for they have asked for his inclusion in the 1943-44 series. Casadesus claims piano-playing as “a hereditary vice” of his family. His grandfather was the first director of the American Conservatory at Fontaine­ bleau. His Aunt Rose was a famous concert pianist; his uncles and nephews founded the Society of Ancient Instruments; Gaby, his wife, is an excellent pianist and teacher, and his two young sons show great piano talent that may develop into virtuosity. BUSCH AND SERKIN “An evening of matchless perfection in violin and piano playing” The combination of Adolph Busch, violinist, and Rudolf Serkin, pianist, brings together two famous solo­ ists who have made international names for themselves. However, ensemble playing takes a great deal more than two fine artists, as the necessary qualities are not possessed by every soloist. It is therefore a high tribute to Busch and Serkin to have the leading critics of the country apply such phrases to their duo-art, as “fabu­ lous,” “give an ideal concert,” “perfection of ensemble never heard approached by a similar combination,” “vir­ tually unbelievable,” “these performances seemed to say the final word at all times,” “wildly acclaimed,” and so on. Busch was introduced in America in 1931, by Toscanini, under whose baton he played five concerts with the New York Philharmonic. Rudolf Serkin was a child prodigy, who after a sensational debut at the age of 12 with the Symphony, settled down to further study before beginning' a career which has made him one of the top-ranking pianists of our day. Conductors vie with each other to obtain his services as soloist. Between the gifted young pianist and the older colleague, Busch, there was always that spark of musical sympathy so necessary for perfect enemble playing. Serkin became a member of the household and married the violin­ ist’s daughter. Both families are all in America now, to the enrichment of our musical life.

Page Eighteen 1943 BEHYMER DE LUXE COURSE SEASON 1944 'Baritone This great singing actor has been heard many times in the San Francisco Opera series in the North and here; but this will be his first recital appearance in the Behymer Series. He is today at the peak of his rare art, and one of the world's most popular singers, with a rich basso voice that is fervent and expressive — and Pinza holds recital audi­ ences as magnetically as his opera fans. On the concert stage, Pinza is that rare artist who com­ bines good looks, personal charm and a truly fine voice. He has established new standards and a new vogue for the basso as a concert artist. Pinza was born in the Eternal City. He abandoned a career as a civil engineer to study music, enrolling at the University of Bologna, later making his debut in Rome’s Teatro Real. Then followed three years in La Scala, where he was leading basso under the baton of Toscanini. Here it was that Gatti-Casazza heard him and quickly signed him for the Met. Since his initial appearance there in 1926, he has been that Company’s leading basso and a veritable magnet at the box office. His repertoire totals 30 operas, his most famous roles being “Borus Godunoff,” “Faust,” “Don Giovanni,” “La Forza del ,” “Marriage of Figaro,” “La Boheme,” “Carmen” and “.” His is a noble art that stands the acid test of simple songs as well as the rendition of dramatic arias. A master singer, with a voice of fine quality, great in range, deep in feeling, warm in color. JAN PEERCE Star of Opera, Radio and Concerts

Unaided and unabetted by the clamor which heralds the artist returning from conquests abroad, Jan Peerce, leading tenor of the Metropolitan Opera House, climbed to the top of the singing world by dint of native talent and hard work. In fact, he has never even visited Europe. Peerce’s musical beginnings were not unlike those of most children in this country. His mother scraped together a weekly half-dollar to provide the boy with a violin lesson. Young Jan utilized what he learned to form a small jazz band and worked his way through college playing party dates and singing vocal choruses. Later he sought out a voice teacher in New York and placed himself in his hands, for better or for worse, and fortunately it proved to be for better. After finishing college, the young tenor settled down to professional singing and trouped for years w’ith dance orchestras. It was on such an occasion at the Astor Hotel (Weber & Fields’ Fiftieth Anniversary celebration) that “Roxy” heard him and engaged him for his Capitol Theater, where he remained for nine years. (Continued on Page 22) Page Nineteen 1943 BEHYMER DE LUXE COURSE SEASON 1944

JAN PEERCE (Continued from Page 19) Toscanini selected him to sing in the performance of Beethoven’s Ninth Symphony; Rachmaninoff thrice chose him as soloist in “The Bells” which the composer himself conducted. In 1939, Peerce made his recital debut at Town Hall and at Carnegie Hall in March, 1941. And in November of that year, he finally stood upon the stage of the Metropolitan Opera House and sang the role of young Germont in “Traviata.” The next day the critics placed the mantle of stardom on his shoulders. Peerce, dubbed “the amazing young tenor,” had arrived, and the Met shone with pride. He is now a very busy artist, between his concerts, opera, and radio engagements. But he manages to spend many hours with his family, which consists of his wife, Alice; son Larry, now 13, and daughters Joyce and Suzanne, eight and four respectively. BIDU SAYAO Brazilian Damozel of the Metropolitan Opera Lyric Soprano Bidu Sayao (pronounced Bee-Doo Sigh- yow) has been heard in Los Angeles with the San Francisco Opera Company, and who can ever forget her exquisite, suf­ fering “Traviata”? She is also well remembered for her un­ usually beautiful and enjoyable recital in the Behymer Series a few seasons ago, and it is by popular demand that she is being returned for a second concert appearance. Typically Laitn in looks, Sayao is most attractive by any standard. Slim, petite, dark-eyed, with shining red-brown hair, she is chicly dressed, and charming in manner. Because she speaks French and Italian like a native, her songs in these languages are a joy of vocal and interpretative art. Portuguese, of course, is her native language since she was born in ; but Spanish is her second mother tongue, her country being bi-lingual. HELEN TRÄUBEL A “Made-in'America” Prima Donna The Metropolitan Opera’s newest Wagnerian sensation was born in St. Louis, and not in some foreign musical capital, as many people think. Her career focuses the spotlight on America as a place in which great singers can be vocally trained, operatically routined, and properly presented to a public ever eager to meet new artists. Traubel has been variously called by critics the successor to the mantles of Lilli Lehmann, Nordica, Gadski and Fremstad, depending on which of these was their favorite singer previous to the arrival on the scene of Mme. Helen. Be that as it may, this is a fact, that she has succeeded to the roles sung by Kirsten Flagstad before that diva departed for her native land, including the greatest singing role in the world, Isolde, and has made a great success of each role. In almost every city, as in Los Angeles, she is being returned for the second or third time, by public demand.

Page Twenty-three 1943 BEHYMER DE LUXE COURSE SEASON 1944 MARIAN ANDERSON America’s Most Beloved Contralto When Marian Anderson comes to Los Angeles next season to give one of her priceless recitals, it will mark her ninth con­ secutive transcontinental tour. Many national leaders have called this artist one of the proudest ornaments of this coun- try” and from the manner in which she is received everywhere she sings, whether in the White House or in the small college halls, this is no over-statement. If there is anyone in the world today who can help break down the bars of inter-racial prejudice, it is Marian Anderson, by her beautiful singing, her good works, and her ingrained womanliness. When Marian Anderson sings her deeply-felt spirituals, in that moving contralto SAp ^tXdudien“suddenIy *“of AwAhenh And, \rSOn was presented in with the $10,000 Bok Award, she stated in her acceptance speech she hoped to use the money “to enable air?he°r°riivens ""tI m' Mlent.ed ,pe0PIe d° something they have dreamed about t us ee Who a 7 “ A>.nClerSOn Award is Mistered by three national trustees, who annually vote on the winners. It is not strictly limited to the field nth Pt Al? that 15 gIVe" prrferen«i an

ORIGINAL DON COSSACKS Serge Jaroff, Conductor

giaPSiSS SSSXF.Ha S 3 Si- Last winter they were on the West Coast, where Warner Brothers claimed them tor a picture which recently was issued under the title “Cossacks of the don " still circulating through the movie houses of the nation. ’ H “ This is their fourteenth consecutive tour of the United States They cover 30 000 American miles each season in special busses, and are known to every7 roadside rest station and eating place from Maine to Texas, and from Vancouver to the Mexican border. This coming season they will of course have to travel by rail. “«lean Page Twenty-four 1943 BEHYMER DE LUXE COURSE SEASON 1944 BACCALONI OPERA COMPANY In Two Famous Comic Operas, "’’ and "Barber of Seville" , one of the greatest operatic person­ alities of this generation, and the bass-buffo of the Metropolitan Opera, has organized a stream-lined Opera Company with an excellent cast of singers and musicians for a trans-continental tour of the United States, visiting Los Angeles in March of 1944, in his two most famous roles mentioned above. Baccaloni was first made known to the Pacific Coast audi­ ences through his San Francisco Opera appearances, notably with in “Daughter of the Regiment” and in “The Barber of Seville”, almost laying his audience in the aisles as if he were Ed Wynn or Bob Hope. Such laughter has seldom been heard in an opera house as Baccaloni evokes with his coinedy and singing. Baccaloni was born in Rome, serving as chorister in the Sistine Chapel Choir at the Vatican. His first appearance in the United States, strange to say, was not in opera, but as soloist with the Minneapolis Orchestra, Mitropoulos conducting, in a program of Mozart, Moussorgsky, and Rossini, but the appearance led straight to the stage of the Met. Falstaff is another role to which Baccaloni’s avoirdupois is admirably adapted. He keeps his weight at 300 pounds, because as he says, “I owe it to my public!” He is only forty years old and expects to retire in ten years. His wife helps him keep his figure (!) and prepares for him certain succulent dishes reminiscent of her native Bulgaria. The inclusion of this excellent opera company in the Behymer De Luxe Series is an innovation which will be greatly appreciated by the subscribers. SAN CARLO OPERA COMPANY Fortune Gallo, Director'General

^tC- SjHc Carl°. °Pera Company, famous for taking grand opera to the people of the United States for the past thirty years, are perennial favorites on the Pacific Coast. Last year, the engagement in Chicago and the Eastern musical centers deprived this coast of their annual visit. At the present time the San Carlo Company is playing a weeks engagement at the National Theatre in Washington, D. C„ where the Executive Committee for the Opera is headed by Mrs. Franklin Roosevelt, Mrs. Cordell Hull and other cabinet members’ wives, as well as a distinguished list of wives of senators judges and representatives on the General Committee. This spring the Company has also been to Boston’s Opera House; the Nixon Theatre !n b.urgh’ the Royal Alexandria Theatre in Toronto, Canada; the Erlanger Theatre in Buffalo, ending their spring tour with a three weeks’ run at the Center Theatre in New York City, beginning May 25, where they have an enormous following and plav to large audiences. J On the Pacific Coast, the San Carlo Opera Company is a household word and many who do not attend other companies, await the visit of this- popular-priced “national institution of Fortune Gallo. They always bring a repertoire of favorite operas, and a few newer works, and carry a well balanced group of. principal soloists, a fine chorus an.,orchestra and a delightful ballet. All are under the direction of the veteran and brilliant conductor, Carlo Peroni, who conducted many performances for the Chicago Opera last year. Fortune Gallo, the founder-director, knows opera management and production perhaps better than anyone living today, and for over thirty years consecu­ tive y has oroduced grand opera “for the masses” and brought it to the cities and towns of this country. Millions have attended and applauded these performances,—sometimes then?1nly °PPortunity to enjoy this fascinating musical art and diversion. • The season opens in Los Angeles at the Philharmonic Auditorium on Monday eve­ ning, March 20, for twelve performances. Page Twenty-five 1943 BEHYMER DE LUXE COURSE SEASON 1944 JASCHA HEIFETZ Violinist It was wartime, October 27, 1917, when the sixteen-year-old Russian violinist stepped on the Carnegie Hall stage and played for the first time in the country which was to become his own. The sensation he created has become musical history for it has only seldom been equaled. And Heifetz has never stopped cap­ tivating and thrilling American audiences. His return, there­ fore, to the Behymer Series next season will be a great occasion. Heifetz is one of the most modest and retiring of men. When Deems Taylor asked him for some biographical information for an article, the artist said: “I wish you’d make it very short. Just say: ‘Born in Russia; first lesson at three; debut in Russia at seven; debut in America in 1917.’ That’s all that is necessary, about two lines.” PLATOFF COSSACK CHORUS Nicholas Kostkukoff, Conductor Choral work has been the basis of music in every nation, but in no country has it been more eloquently realized than in Russia. From the 15th century down, the Russian Court had its church choir composed of the greatest male voices of their time. When the Imperial Choirs were no longer in existence, the Cossacks from the Don River basin became famous for the beauty of their voices. If a musical recruiting sergeant were to travel up and down the Don River Valley, he could easily recruit a dozen choirs of beautiful natural voices, but there are only two choruses in the world today who have subjected themselves to the rigid discipline of study and singing under fine leaders, necessary to meet the standards of music. One of these two groups now traveling in the United States is General Platoff’s Don Cossacks Chorus, directed by Nicholas Kostrukoff. Since the literature of the Cossacks is rich enough in folk-lore songs, lullabies, tradi­ tional and battle, for a dozen diversified programs, the two groups sing quite different and distinctive programs. Of course, all audiences demand from both, as encores, the “Volga Boatman” and “Dark Eyes,” now American by adoption. The Platoff Cossack group carry one member who is a sword and dagger dancer, and who performs the spirited movements of the Caucasian Cossacks, carrying twelve knives in his mouth and hands, on his chin, his lips, and his shoulders.

EXTRA EVENTS! TODD DUNCAN and HARRIET JACKSON Baritone Soprano Todd Duncan skyrocketed to fame with his creation of the role of Porgy in “Porgy and Bess.” Following many seasons of his rich-voiced portrayal of this American folk­ lore hero, Duncan was co-starred in London in “The Sun Never Sets.” For the season of 1943-1944 he is touring this country in a recital of classical songs, and excerpts from “Porgy and Bess,” assisted by Harriet Jackson, soprano, with Andres Wheatley at the piano. PAUL DRAPER LARRY ADLER Tap Dancer Harmonica Virtuoso The success of this unusual combination in last year’s Behymer Series warrants their return to the city in the fall of 1943. Skeptics were convinced that the harmonica can produce the music of Handel, Mozart and Bach, to the pleasure of the classicists; and of course modern music is perfectly suited to the instrument Adler has raised to virtuoso calibre, so that he has played with the finest orchestras in the country. Paul Draper, too, has made tap dancing into a high art, without losing its basic entertainment value. Page Twenty-six 1943 BEHYMER DE LUXE COURSE SEASON 1944 KATHERINE DUNHAM And Her Company of 20 Dancers and Musicians

At long last, here is America’s first au­ The show is one prolonged throb. Drum­ thoritative mistress of the Negro folk mers, pianists, guitarists, dancers all plunge dance, a vital, colorful and throbbing ex­ into the whirl; the stage rocks and vibrates and everybody's pulse quickens. Yes, Miss ponent of the primitive dances front Haiti, Dunham is unique. Martinique, Cuba, Brazil, and ranging She will be seen in three performances northward through to Harlem’s under the Behymer management in March. hottest jazz forms, and already a sensation She has just finished an exciting tour of in this new type of program in capital cities the Northwest, and the tributes are most from Coast to Coast. exhilarating. Tribal ceremonies, plantation dances that It is not generally known that Miss are anthropologically important, and theat­ Dunham has her bachelor's degree in an- rically overpowering, performed by Kather­ thropolgy from Chicago University; and ine Dunham with the best Negro company as soon as she has time to think and do a of dancers and musicians ever brought to­ bit about it, she can get her master’s de­ gether in the world—the same Katherine gree. She has several Julius Rosenwald Dunham you have seen and enjoyed so Foundation Awards for study and research much in pictures and musical comedies. of the dance. ■Allusi RuJuMAÎein. . .

• Sunday Afternoon, May 2

had appeared in most of and Poland, playing once in Warsaw with the orchestra under the direction of Emil Mlynarski, whose daughter, Nela, as yet unborn, was in later years to marry the brilliant Rubinstein, who foreswore a forty- year bachelorhood for her. Joachim also sent his young charge to visit Paderewski who was so enchanted with the youth’s ability, that he prevailed upon him to pro­ long his stay for three months. Rubinstein’s debut in America was in January, 1906, making his first appearance in Philadelphia with their famous orches­ tra; and in New York with the same or­ chestra a few days later. On that initial tour which lasted three months he played 75 concerts. In 1914, after a tour of the major cities of Europe, Rubinstein wound up in Lon­ don just as World War I started. He wanted to join the Polish Legion, but be­ cause of his fluent command of eight lan­ guages, he was considered more valuable as an interpreter; later giving 30 benefit concerts for the Allies jointly with Eugene Poet and Virtuoso of the Piano Ysaye, celebrated violinist. “The most exciting pianist of our time” A witness of the havoc caused by Ger­ as Artur Rubinstein is most often alluded many among non-combatants in Paris, Rubinstein vowed never to play in Ger­ to, was born in Lodz, Poland, the youngest many again. of seven children. He displayed musical Though almost thirty years have passed talent at three, and the doting inhabitants since then, and innumerable invitations of Lodz presented him; for his fourth birth­ had come to him from that country, he has kept that oath to this day. day with visiting cards, inscribed “Artur To Rubinstein, all of life is more or less Rubinstein, Artist Musician.” His uncle an adventure. His vibrant, gusty pianism is wrote to Joseph Joachim, the great Hun­ his way of expressing his passion for the garian violinist, and friend of Brahms, who very process of living. He refuses to give pronounced the child’s talent extraordi­ way to pessimism even in the face of the present world crisis. He believes that nary. through music the artist can appeal to the When Artur’s sister was going to Berlin sensitivity and sympathy of man. “There to prepare for her marriage, she took her are still many things to live for,” Rubin­ prodigy-brother along to present him to stein maintains, “despite Hitler and Mus­ Joachim. The venerable pedagogue was solini.” so impressed that he assumed responsibility Artur Rubinstein, with his wife Nela and their two children Eva and Paul, now for the next eight years for young Artur’s make their permanent home in West Los musical future, and sent him to study piano Angeles, where they manage a good-sized technique with Professor Henrich Barth, Victory garden, besides some beautiful a pupil of Bulow, Taussig and Liszt. The flowers. Eva, now ten years old, was born in Buenos Aires on the artist’s eleventh amazing child studied composition and trip to South America (he has made twenty harmony with Max Bruch and Robert to date). The Latins were so kind, they Kahn. brought enough clothing for the baby to At eleven, he made his formal debut in dress 120 children, Mrs. Rubinstein laugh­ ingly relates. Eva who crossed the equator Berlin, playing Mozart Concerto in A six times, speaks the English, Polish, minor, with his musical godfather, Joachim, French and Spanish tongues, as does her conducting the orchestra. At fifteen, he younger brother. Page Twenty-nine L. E. BEHYMER Presents

SUNDAY MATINEE, MAY 2, 1943

PROGRAM (Subject to change)

I.

Prelude, Choraleand Fugue...... Franck

Two Etudes...... Chopin

Nocturne...... Chopin

Sonata, op. 35,B-flat ...... Chopin Large—Doppio movimento Scherzo Marche funebre—Prestissimo

INTERMISSION

II.

Les Fées sont d'exquises danseuses...... Debussy

La Terrasse des Audiences au Clair de Lune...... Debussy

L'Isle Joyeuse...... Debussy

Noctuelles (Nightmoths)...... Ravel

Polka...... Shostakovich

Kujawiak (In memory of Paderewski)...... Karol Rathaus

Triana...... Albeniz

STEINWAY PIANO COURTESY OF BARKER BROS.

Exclusive Management: HUROK ARTISTS, INC., 711 Fifth Ave., New York City Booking Direction: National Concert and Artists Corporation

Page Thirty-one Menuhin - andl JIwwm feei+tcj,

When in later years, California’s own violinist, Yehudi Menuhin, sits down to write his autobiog­ raphy and thinks back to the most important twelve-month of his life, there is no doubt that the year of 1942 to 1943 will stand out prominently in his memory. Not only because it marks the first year of the world conflict which will decide the kind of- world his children and other children will live in, but because it marks Yehudi’s ripening. Yehudi’s mastery of the violin reached great heights long ago, but in the past year, experiences which have brought him in close touch with human nature and with varieties of people, have broad­ ened and developed his personality,—all oi brought word that he was playing three which is reflected in his artistry. Critics Limes daily at camps, ammunition factories, describe it as “complete musical maturity” and hospitals; eating with the workers and which really might be termed his maturity soldiers and sleeping in camps. as a full and complete human being. At one of his numerous sold-out London Three weeks after war began, young benefits in the 10,000-seat Royal Albert Menuhin gave a benefit concert in his home Hall, for Russian, Free French and Red town of Los Gatos, California, for the sol­ Cross and other war causes, top price was diers. That was only the beginning of his $12.00 a seat. He played such weekly concerts for every branch of the armed benefits in all of the large cities. He wrote forces, whether in camp or convalescent he had the extreme pleasure and honor of homes, or in hospitals, until the present playing sonatas with Dame Myra Hess, writing finds him returning from a month England’s patriotic pianist, at her famous in England on the same mission. noon-day recitals at the British Museum, The list of concerts that Yehudi has which she has- been giving daily from the played for civilians and army posts, air first days of the war. forces, naval bases, would more than equal At this writing, Yehudi has returned in a full season’s transcontinental tour. On another bomber, to New York, where he these missions, he played ten concerts in was greeted by Mrs. Menuhin and their fourteen days in the Caribbean Islands and two children,—all of them returning to Los South America early this spring. He flew Gatos by April 26. daily and played nightly, and raised tens of thousands of dollars for hospitals and On April 30, Yehudi is scheduled to play victims of submarines. Air priorities were a concert in San Jose, which had been given him such as are reserved for gen­ postponed for his trip abroad. A commit­ erals and top officers, as his services were tee comprising all groups in the city,— considered important to the morale of the religious, musical, educational—and headed boys in the outposts, and for money rais­ by the Mayor, has been formed to give a ing in the bigger centers. rousing welcome to their fellow-citizen of the Santa Clara Valley, now a citizen-of- On Yehudi’s return from the Caribbean the-world. in March, he was invited to go to Eng­ On May 2 Menuhin leaves via Los An­ land as guest of the U. S. A. and British War Departments, who were arranging geles for the Latin Americas, stopping for place on a bomber to take him across to concerts in , Central America, and play for the American and British forces. then on to South America, where they roll With his fiddles and forty pounds of bag­ out the red carpet for him usually reserved gage he flew over. A few cabled mes­ for heads of state and top-ranking army sages received by the artist’s parents, Mr. and navy officials. and Mrs. Moshe Menuhin, of Los Gatos, In March of 1944, Menuhin will be from undesignated R. A. F. and U. S. A. heard in Los Angeles in the Behymer De camps in England, Scotland, and Ireland, Luxe Series, and in other California cities.

Page Thirty-three : i

H

TRÄUBEL PINZA Columbia All-Star THOMAS SAYAO Quartet Gala Opening Nov. 16

1943— BEHYMER —1944 1943— BEHYMER —1944 SELECTIVE COURSE 10-EVENT EVENING COURSE $6.50, $11.00, $14.00, $18.00, plus tax 20 Events — 13 Eves., 7 Sun. Mats. Choose Ten Events Choice of 12: $8, $14, $18, $22, 1. Columbia All-Star Quartet 1. Columbia All-Star Opera 2. Amaya and Company Quartet Igor Gorin, Josephine Tuminia, 3. Argentinita and Company Nino Martini, Helen Olheini 4. Original Don Cossacks 2. Carmen Amaya and Company 5. Richard Crooks 3. Jose Iturbi 6. Heifetz 4. Argentinita and Company 7. Ballet Theatre 8. John Charles Thomas 5. Dorothy Maynor 9. Baccaloni Opera Co. 6. Original Don Cossacks 10. Bidu Sayao 7. Richard Crooks 11. Artur Rubinstein 8. Heifetz * * * * 9. Ballet Theatre 1943- BEHYMER -1944 10. Marian Anderson 10-EVENT VOCAL COURSE 11. John Charles Thomas $6.50, $11.00, $14.00, $18.00, plus tax 12. Luboshutz and Nemenoff 1. Columbia Opera Quartet 13. Baccaloni Opera Co. 2. Platoff Cossack Chorus and 14. Robert Casadesus Dancers 3. Richard Crooks 15. Jan Peerce 4. John Charles Thomas 16. Ezio Pinza 5. Baccaloni Opera Co. 17. Bidu Sayao 6. Dorothy Maynor 18. Yehudi Menuhin 7. Jan Peerce 8. Ezio Pinza 19. Helen Träubel 9. Helen Traubel 20. Artur Rubinstein 10. Bidu Sayao

Reservations for the 10-Event $1.00 per location holds your sea­ Matinee Course After Oct. 15 son reservations until October and Telephone MA. 2548 until Sept. 15 applies on season ticket.

RESERVATIONS, 415 AUDITORIUM BLDG., UNTIL SEPT 15