DOCSLIB.ORG

^Perfieldggk-FREE GRACE DI PÎETRO "Lohengrin" English Worthy of the World, Which Introduced the Antoine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
^Perfieldggk-FREE GRACE DI PÎETRO Opera in the Vernacular Foreign Works and Translations . and. Composers Mme. Maria Barrientes, the Spanish "Tosca," with Mme. Farrar and Mesfti Singers . How Schools Are Created .. Concern¬ coloratura soprano wtio since she sang Lázaro and Scotti. the Diction with the Metropolitan Opera Company ing Study of last season has made a tour through th© West Indies, South America and Opera in Brooklyn Spain and back to New York by way "Cavalleria By H. E. Krehbiel In her hand she held the dagger, Rusticana" and "Le Co. And her of Cuba that in miles is almost equal d'Or" will be given as a We arc moved recurrent observa¬ anguish recommences. double bill by Wrctojied maid! She'd slain her hus¬ to s voyage around the world, will re¬ on Tuesday at the tions of evening Brooklyn ancient phenomena which arc band! join the company this week and re¬ Academy of Music. The former discussed as latter de¬ Gazing near, and from her lips a smile open periodically day broke forth. appear on Friday evening as Gilda in will be sung by Mro.es. Easton, velopments to add another to the many the season'3 first With perir.j Ah! Her spirit most unhappy, "Rigoletto." and Mattfeld and Messrs. Crimi and disquisitions which have appeared in Reason';! bonds' had cast away; her will sing the young American lyric Mr. Her Montesanto, Moranzoni conductine The Tribune on the subject of the use spirit unhappy, tenor, Carlo Hackett, as the Duke, Mr. while "Le d'Or" will Her spirit most Coq be sung Ù the vernacular in operatic per¬ unhappy, de Luca as the Jester and Mr. Rothier Mmes. Barrientes, Robeson formances. Recent have Reason's bonds, yes, reason's bonds and Sun- experiences had cast away. as Sparafucile. Others in the cast will delius and Messrs. Didur, Diaz, Anani&a. not been encouraging to those who Ah! Heaven in mercy the crime for¬ be Mmes. Perini, Egener and Mellish Reschiglian and Audisio ard been a her! danced by have indulging hope that one give and Messrs. Rossi, Bada, and Reschi- Misses Galli and Smith and result of the world war would be to Sad was her fate, cruel hatred's prey, Messrs Sad was her glian, Mr. Moranzoni conducting. Boim, Bartik, and the fate, cruel hatred's prey. Bonfiglio Agnini Mr stimulate production of operas Gazing forth with eyes all vacant. There will be a special Lincoln's Moranzoni conducting. composed to English words, nor to Ah! May heaven the crime forgive Birthday matinee of "Aida," on Wed¬ ho have cherished the belie«.' her; nesday, with Messrs. Caruso, White- musical culture would be Sad was her fate, cruel hatred's prey. Park Theatre pro¬ Sad was her fate, cruel hatred's prey, hill, Mardones and Mmes. Muzio, Claus- moted if operas of foreign origin were Sad was her fate! Ah, yes! Sad was sen and Sparkes in the cast. "Robin Hood* is her breaking the best sun;,' in the vernacular. What has fate; Other operas of the week will be as records of the season at the n done in both Ah, yes! Sad was her fate." Park directions at the follows: Monday, "Crispino e la Co- Theatre, where it will be presented House was Mr. Alfred Kaufman sang these Metropolitan Opera negli¬ mare," followed by "Petrushka," with every night this week and at a special gible, or almost negligible, in the solu¬ words and enunciated them with a dis¬ the usual casts; Lincoln's tinctness the Wednesday evening, Birthday matinee. Orville tion of what can be, or might be, looked painfulness of which "Faust," with Mme. Farrar and Messrs. Harrold and Craig Campbell alternate as a national made some of his hearers realize what upon problem. The Martinelli, Chalmers and Rothier; as Robin Hood; Anne Bussert was meant by him who said that words and Metropolitan company purged its ros- Thursday, "Bori^ Gudunow," with Mmes. Blanche Duffield as Maid Marian; John oí a number of German which were too foolish to be singers spoken Matzenauer and Delaunois and Messrs. Phillips and Rudolph Koch as Sir and a taboo the might be sung. But it really did not Guy placed upon lyric Didur, Althouse, Mardones, De Seguro- and James Stevens and John Quine as dramas of In seem to signify much so far as the Wagner. compensation la and others; Saturday matinee, ''Lo- Little John. Others in the cast are: it produced Mr. De Koven's "Canter¬ people who heard them on this occasion doletta," with Mme. Easton and Messrs. William Danforth, Herbert Waterous, bury Pilgrims" two years ago and Mr. were concerned. It was opera; it was Caruso. Chalmers and Didur; followed Cora Tracy, Kate Condon and Gladvs Cadman's "Shanewis" last year; pro¬ opera in English; it was opera at by "Petrushka;" Saturday night, Caldweil. duced them and then put them on the popular prices; that sufficed the audi¬ 10 doubt for the reasons which ence. To proceed with the argument: In the ave been compelling in the case of opera of to-day it is peculiarly wearing the golden comb of the Lore- Bouilliez, Gustave Huberdeau, Con¬ .' er works which were not of native essential that a fine regard for the ley. stantin Nicolay and Gustave Duprere. origin. It revived a work by one Ger¬ music be had in translating operatic In the second act, Walter and Anna, "La Traviata" will be sung at the Fit- man because it was composed in French texts into English. Addison thought on their way to the church to be mar¬ urday matinee, with Mine. Galli-Curci but chiefly because it offered an op¬ so as long as 200 years ago. He not ried, are confronted by Loreley, who and Alessandro Dolci. In the evening portunity agreeable to Mr. Caruso.a only pleaded for English opera and apeara in a mystic light and sings her the opera will be "Faust," with Yvonne reason sufficient in itself under the wrote the book of one, but he assailed song of love to Walter. He casts Anna Gall, John O'Sullivan, Marcel Journet present condition of affairs), and re¬ Italian opera whether in the original from him and, as he rushes to the and others. Mr. Charlier will conduct tained another because it was familiar or translated forms with his prettiest arms of Loreley, she jumps into the in its Italian dress and also contained wit. In one case he tells of an Italian river, leaving Walter on the bank. As a part for Mr. Caruso. It closed its line which read, literally, "And turns Anna falls lifeless, Loreley reappears MUSICAL INSTRUCTION eyes to the nationality of Liszt and my rage into pity," but for the sake oi on the rock. gave his German oratorio, "St. Eliza- rhyme was translated "And into pity The third net shows the obsequies turns "Infallible Method of Memorizing" th," in operatic form and with Eng¬ my rage." By this means, he of Anna. Walter, on learning that it T. ANTOINETTE the soft notes which were at¬ lish words; and has evidently rele- says, is she who is being buried, falls in a PIANO iifinn HARMONY tached to in the Italian fel «1 that to desuetude for reasons "pity" swoon by the river, and as he wakes CONCENTRATION»« BAÏ11J8 MEMORY the DEVELOPED ¦»¦«¦«"¦«¦^ hich may have been artistic, but were upon word "rage" in the English the same cast that he sees Loreley on her rock to TRAINED and the recently appeared singing The publàr is invite«! to attend the Studio assuredly not patriotic. This season angry sounds which were tune« in Chicago. Mr. Polacco will conduct. him. As she is about to embrace him Hochai« given by the urtint pupila of An- it has which to "rage" in the original were mad«, tninnette Ward on Fridaj» .il :i o'clock. produced '""Oberon," needs The ballet will be the occasion of the threatening voices from the deep re¬ Talks by Miss Ward on ce on-the score of its original to express pity in the translation debut of Sylvia Tell, premiere danseuse mind her of her oath to the river god. Concentration.Memory text and deserves no censure Are there versions of Training ;lish English foreigi of the organization. She tears herself from Walter and re¬ Tone Production-Technical Freedom because it was an scores which could stand such a tes composed by elo- Walter, Lord of be¬ turns to her rock. He, in a frenzy, German of Gorman to-day? I open some of the score! Oberwessel, Interpretation.Sight Reading champion trothed to Anna of Rehberg, niece of throws himself into the river, as Lore- Demonstrations ten German liberty was an most conveniently at hand. In th« the Margraf of Bieberich, meets Lore- ley sings her love song once more. l'LA VERS: HELEN lit I .S.MAN. CON- ideal whicli had the reverence of every English "Parsifal," in a passage o Massenet's "Le Jongleur de Notre STANCE HULSMAN, GORDON riHMJI't«, democratic soul in the world. Kundry's recital to Parsifal, "Th; ley wandering along the river bank. MODENA st OVILLE. KITH (OK, .UIE- sincerely fall in love. He confides in¬ Dame" will be revived on Friday night LAIDE MM ANT) OTHERS. suffice from one father's love and death" is a: They the That-may point of given cident to with Mary Garden in the title role. si.a vao Dyck studios, n. y. view for the situation at the Metro¬ "Thy father's death and love," whercb; his friend, Hermann, himself sa In love with but he Others in the cast will be Auguste politan House.
Load more

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]
  • ARSC Journal
    THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • NI 7927-8 Book
    NI 7927/8 NI 7927/8 Regiment of Sambre et Meuse should have been delayed until two months after the war had ended I do not know, but there is no gainsaying thepanache with which he trumpets forth his tribute to those intrepid military men. A comparison of these later recordings of Caruso’s with those made back in 1902 and 1903 PALESTRINA makes it evident how his voice had darkened and grown more massive over the years. The M I S S A O S A C R U M C O N V I V I U M advances in the recording process naturally emphasise this change, but in any case such was Caruso’s technical mastery that even when his voice was at its heaviest it never became unwieldy. His very last stage appearance was in a role which had been a favourite from his earliest days, Nemorino in L’elisir d’amore, which calls for great vocal dexterity; and anyone who doubts Caruso’s ability to sing rapidcoloratura in his latter days should listen to the cadenza at the end of his recording ofMia Piccirella from the operaSalvator Rosa, made in September 1919. I would like to end these reflections, though, with a glance at one more track from the current selection. This is the duet entitledCrucifix, written by the eminent French baritone Jean-Baptiste Faure, in which Caruso is partnered by Marcel Journet, one of the most celebrated basses of the day. Journet’s is the first voice that we hear, and very fine it is too; but when Caruso enters the sound is one of incomparable beauty, rich and majestic but astonishingly gentle too.
    [Show full text]
  • Rigoletto En La Biblioteca Pública “Azorín” Octubre 2012
    Rigoletto en la Biblioteca Pública “Azorín” Octubre 2012 ■ INTRODUCCIÓN Rigoletto es un melodrama en tres actos con música de Giuseppe Verdi y libreto en italiano de Francesco Maria Piave, basado en la obra teatral Le Roi s'amuse, de Víctor Hugo. Fue estrenada el 11 de marzo de 1851 en el teatro La Fenice de Venecia. Está considerada por muchos una de las primeras obras maestras operísticas de mediados de la carrera de Verdi. Se trata de un drama de pasión, engaño, amor filial y venganza que tiene como protagonista a Rigoletto, el bufón jorobado de la corte del Ducado de Mantua. Historia Composición A principios de 1851, el teatro de La Fenice de Venecia invitó a Verdi a componer una nueva ópera para ser estrenada allí, en una época en que ya era un compositor bien conocido con un grado de libertad a la hora de elegir las obras que prefería musicar. Pidió entonces a Piave (con quien ya había trabajado en Ernani, I due Foscari, Macbeth, Il corsaro y Stiffelio) que examinara la obra Kean de Alejandro Dumas, padre, pero sentía que necesitaba un tema más enérgico con el que trabajar. Verdi pronto dio con el drama francés Le roi s’amuse (El rey se divierte), del escritor Víctor Hugo. Más tarde explicó que "Contiene posiciones extremadamente poderosas... El tema es grande, inmenso, y tiene un personaje que es una de las más importantes creaciones del teatro de todos los países y todas las épocas". Era un tema muy controvertido y el propio Hugo había tenido problemas con la censura en Francia, que había prohibido producciones de esta obra después de su primera representación casi veinte años antes (y continuaría prohibida durante otros treinta años).
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • Opera Management
    THE CINCINNATI OPERA 1883-1994 Arranged and Described by Vincent Mazzella, Marian stangel "and Ursula Umberq March 1995 THE CINCINNATI OPERA, 1883-1994 CONTAINTER LISTING Box No. Description Date Page SERIES I: PROGRAMS AND BROADSIDES Box 1: Programs and Broadsides 1920-1936 1 Box 2: Programs and Broadsides 1937-1946 2 Box 3: Programs and Broadsides 1947-1957 3 Box 4: Programs and Broadsides 1958-1965 4 Box 5: Programs and Broadsides 1966-1971 4 Box 6: Programs and Broadsides 1972-1979 5 Box 7: Programs and Broadsides 1980-1983 5 Box 8 : Opera Programs 1985-1992 5 Box 9: Assorted Music 1883, 1886-1987, 1890, 1902-1911 6 1934-42, 1978-1979 Festival Programs--Metropolitan Opera Programs, Nippert Concerts Federal Theatre (WPA) Programs. Miscellaneous Programs SERIES II: LIBRETTOS Box 10: Aida to The King's Henchmen 7 Box 11: Lakme to Der Rosenkavalier 7 Box 12: Salome to II Trovatore and 8 Miscellaneous Covers SERIES III: PHOTOGRAPHS Performers Photographs and Program Biographies Box 13: Adler,Arlene to Bardi, G. 8 Box 14: Barlow, Klara to Calleo, Ricardo 9 Box 15: Campora, Guiseppe to Cornell, Gwynn 10 Box 16: Cossa, Dominic to DeAlmeida, Antonio 11 Box 17: DeBlasis, James to Dworchak, Harry & Designers 12 Box 18: Eddleman, Jack to Frigerio, Claudio 13 Box 19: Galiano, Joseph to Harris, Lloyd 14 Box 20: Harrower, Peter to Janku, Hana 16 Box 21: Jenista, John to ~ng, Edith 17 i Box 22: LaSelva, Vincent to Malas, Spiro 18 Box 23: Malfitano, Catherine to Mills, Erie 19 Box 24: Milnes, Sherrill to Muckenfuss, Robert 20 Box 25: Nabokov, Dmitri to Pastine, Gianfranco 21 Box 26: Patachi, Val to Proctor, Elizabeth 22 Box 27: Quartarro, Florence to Rounseville, Robert 23 Box 28: Roy, Margaret to Shade, Nancy 24 Box 29: Shelle, Eileen to Soloman,.
    [Show full text]
  • The Hyechra Club
    THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 42,1922
    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, April 12, at 8.00 PRoGRKttttE SSfflfflffl Steinway & Sons STEINERT JEWETT WOODBURY « PIANOS v Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS victroLas victor records M. STEINERT & SONS SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor SEASON 1922-1923 THURSDAY EVENING, APRIL 12, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l 'CHE INSTRUMENT OF THE IMMORTALS Q OMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt and convenience a Steinway can at his Steinway be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up Convenient terms.
    [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]
  • The H1eclakc Club 361
    The H1eclakc Club 361 Incidental Dances by Anna Ludmilla and Corps de Ballet Nineteenth Festival, 1926: Chicago Civic Opera presented ••La Gioconda" (Ponchielll) Conductor, Giorgio Polacco Artists: Rosa Raisa Gildo Morelato Augusta Lenska Desire Defrere Flora Perini Ludovico Oliviero Antonio Cortis Glocomo Rimini Alexander Kipnis Antonio Nlcollch Incidental Dances by Miles Shermont, Dagmara, Nemeroff, Romany and Corps de Ballet "'Boris Godunotf" (Modest Moussorgsky) Conductor, Giorgio Polacco Artists: Feodor Chaliapin Lodovico Oltvlero Gladys Swartout Augusta Lenska Elizabeth Kerr :f"J.ora Perini Jose Mojica Romeo Boscacci Forrest Lamont Gulseppe Minerva Virgilio Lazzari Alice D'Hermanoy Edouard Cotreuil Cilda Morelato Antonio Nicolich Twentieth Festival, 1926: Carolyn Powers Thomas, violinist Soloists: Kathryn Brown, contralto Rudolph Ganz, Conductor St. Louis Symphony Twenty-first Festival, 1927: Chicago Civic Opera presented Alda (Verdi) Conductor, Giorgio Polacco Artists : Rosa Raisa Edouard Cotreuil Augusta Lenska Virgilio Lazzari Florence Misgen Giacomo Rimtnl Charles Marshall Lodovico Oliviero Incidental Dances by Miles, Shermont, Samuels and Corps de Ballet La Traviata (Verdi) Conductor, Roberto Moranzoni Artists: Claudia Muzio Desire Defrere Charles Hackett Giovanni Polese Richard Bonelli Antonio Nicolich Alice d'Hermanoy Anna Correnti Jose Mojica Gildo Morelato Incidental Dances by Miles, Shermont, Samuels and Corps de Ballet Twenty-second Festival, 1928: 11 Trovatore (Verdi) Conductor, Henry G. Weber Artists: Rosa Raisa Eugenio Sandrini Alice d'Hermanoy Albert Rappaport Giacomo Rimtni Virgilllo Lazzari Antonio Cortis Cyrena Van Gordon Incidental Dances by Misses Chapman, Flnholt, Letteaux, N. Smith and Ballet Rigoletto (Verdi) Conductor, George Polacco .
    [Show full text]
  • Students to Elect Skiff Editor
    G»*iAA «^** J V, '%mmt A NEWSPAPER FORT. C. U. ._/ \_ THE SKIFF EXAS CHRISTIAN UNIVERSITY Nl MHKK 22 VOLUME 22 FORT WORTH. TEXAS, MARCH I. 1921 I STUDENTS TO ELECT SKIFF EDITOR II CAGERS THROUGH; TAKE SECOND; TEXAS FIRST Student Forum Is Frogs Take Two HOUED FROG TO M Frog Netters Have BKKK5, siblefor iKIi From Owl- Drop III MORE INDIVIDUAL rrof ™ , " „ "JKffSHr' P1CMS m m[ ' ii' li 11' rl iti f The Ski!!' will b< F 5 to A 41 Arranged Unusually BE IN T, B. I. TONIGHT ■ '■ Thomas Elmore Lucey, poet-hu- dent body, according to announce- There will In' over 100 more In- morist-actor, versatile i BV ''.v Butler S. dividual pictures In this year's Horn .1 in Cantrell'a company supi • world travelei ai of the publical 2l there were in the 1023 Strenuous Schedule l. - ■ ball stars 'li. b . i. , to be in T. i'. U. | lo.oin manager of day evening after having won book, according to Roy Mack of the g ,,', loi k n the studi the Unlvei I Pre blent Waits In- place immediately below first in Prog staff. At 4:40 o'clock Satur- Two matches with the Trinity ten- It Is nol definitely known whether Mr. l.i: ey ha Bppi ai ed t: acted the publications committee ibis seal on1 I a ki I ball i ai e, They day afternoon with 'Jo minutes more nis team'have been arranged for oi nol this will complete the sched- in half I ■ to pai s on the qualifii can I \no ■ ra pel iod games from before the deadline for picture .
    [Show full text]