Download File

Total Page:16

File Type:pdf, Size:1020Kb

Download File Portland Grand Opera Season AUDITORIUM MARGH 10,11,12,1924 Cihcago COric 0ptva Company HERBERT M. JOHNSON cAssistant to the President C. A. SHAW Business cTWanager Direction of STEERS fe? COMAN A. E.Wellington For the Portland Publisher Guarantors N. W. Bank BIdg. The Chrysler Pronounced as though spelled, Cry'-sler Si* QUALITY POWER SPEED BEAUTY Covey MotorCarCo Twenty-First at Washington BRoadway 6244 Banking Confidence UBLIC confidence in a bank is fostered by the safeguards thrown about its operations; Pthe men directing it; and its reputation since establishment. The United States National is protected by Gov• ernment laws, membership in the Federal Re• serve, and Portland Clearing House. During more than thirty years' service to the Pacific Northwest, it has borne an unblemished record for stability. Therefore the United States National unhesitat• ingly offers you the hundred per cent service of a substantial banking institution. "One of the Northwest's Great Banks" Si^fh and Starke High urbwn I Coffee is better! Do you know why? The fact that it is better is very evident when you drink — Golden West Coffee "Just Right" LIBERTY NOW—Bebe Daniels and Ernest Torrence in "The Heritage of the Desert' by Zane Grey. Chicago Civic Opera Company — mm A.—. ^ Officers ^\v Mb. Samuel Insull, President Mb. Chaeles G. Dawes, Vice-President Mb. L. B. Kuppenheimeb, V.-President Make the Mb. Chables L. Hutchinson, Treasurer Northwestern Mb. Stanley Field, Secretary National Your Banking Board of Trustees Home Mr. Robert Allerton Mrs. Jacob Baur Located in the heart Mr. R. T. Crane, Jr. of the retail shopping Mr. Charles G. Dawes district you will find Mr. Stanley Field it convenient for Mr. E. R. Graham your commercial or Mr. Charles L. Hutchinson savings accounts Mr. Samuel Insull Mr. Robert E. Kenyon Mr. L. B. Kuppenheimer Mrs. Rockefeller McCormick Mr. Harold F. McCormick Mrs. Arthur Meeker Mr. John J. Mitchell Thf Mr. Joseph R. Noel 1 ML Mr. Max Pam Mr. Martin A. Ryerson NORTHWESTERN Mr. John G. Shedd NMORRISOationaN l STREEBanT k Mr. Judson F. Stone SIXTH TO BROADWAY PORTLAND, OREGON Mr. Frank D. Stout Mr. Edward F. Swift LIBERTY NEXT WEEK—Corrine Griffith and Conway Tearle in "Lilies of the Field." Before Selecting Your Vocal Teacher send for pamphlet "Choosing a Teacher "—(Personal experiences) Atmosfera Artistica Leading Local and State Church and Concert Singers, Who Are Taglieri Pupils: Dr. Stuart McGuire, Baritone; Hal Young, Tenor; Mark Daniels, Baritone; Harold L. Graham, Lyric Baritone; Albert K. Houghton, Dramatic Baritone; Herman Hafner, Tenor di Crazia; Marion Bennett-Duva, Coloratura Soprano; Iris Martenson-Oakley, Ruth Lange, Contraltos; Caroline Schott, Soprano. NOTE.—Mr. Taglieri was a pupil of the world famous masters, Lamperti, Milan—Vannuccini & Cortesi, Florence— De Trabedelo, Paris, and principal tenor (twelve seasons) of High Front Tone Placing English and Italian Opera companies of International repu• Nasal Resonance tation. Studio: 66 North 19th Street, W-Car to Davis Street Phone Broadway 2952 INSURANCE FIRE, CASUALTY, AUTOMOBILE, BONDS LOANS—READY MONEY—NO DELAY WE MAKE LOANS ON AUTOMOBILES WE BUY MORTGAGES, CONTRACTS AND AUTOMOBILE PAPER Oregon Bond &. Mortgage Co. 207-208 SELLING BUILDING =RIVERVIEW= Stands for Best in Dairy Products MILK, CREAM AND BUTTER TAbor 4617 TAbor 4616 MAJESTIC NOW—Tom Mix in "North of Hudson Bay" INSURE Chicago Civic Opera Company IN SURE Continued Herbert M. Johnson, I Assistant to the President Clark A. Shaw, Business Manager N Giorgio Polacco, Musical Director S Chiefs of Department U Harry W. Beatty Technical Director R Richard C. Burritt Publicity Manager A G. A. Fuller Asst. Technical Director N R. S. Jeffers Stage Carpenter W. B. Young C Master of Properties E. H. Moore E Chief Electrician Anton Oberding Master of Wardrobe HARVEY Max Roeder Wigs WELLS & CO. GASCO BUILDING MAIN 4564 MAJESTIC NEXT WEEK—"Half a Dollar Bill" /^••^HE Student Competitions recently held in Portland by the Oregon I II Music Teachers' Association brought four prizes to the Street- MfcJZTrotter Studios, as follows: Miss Genevieve Atofsky, first prize, Piano, Class B; Stephen Whitford, first prize, Piano, Class A; Mrs. Nina Pettibone, first prize Class B, Soprano, and Mrs. Gladys Brumbaugh, second prize Class A, Soprano. In the competitions held by the Civic Music Club of Portland, five prizes were won by the Street-Trotter Studios. The winners were: Stephen Whitford, first prize, Piano Professional; Mrs. Nina Pettibone, first prize, Women's Voices Amateur; Dr. B. W. Spang, first prize, Men's Voices Professional; Bess Smith, first prize, Women's Voices Professional, and Viola Lindquist, second prize, Piano Amateur. In publishing these lists, these teachers desire to show in a modest way, that the average of instruction given in these studios is what they claim—"The highest standard" and the result of years of training and teaching experience. They offer to either beginners or advanced students definite ideas for their progress based on sound fundamental principles. INTERVIEWS BY APPOINTMENT Geo. Hotchkiss Street yn\C(> Studios: Eda Trotter . Piano.Violin 408 Tilford Kathryn Crysler Street vu,tc Marjorie Trotter. Harmony Tone Production, Diction, Style Bldg. Tone Production, Technique and Repertoire Portland, and Repertoire Phone: Broadway 5657 Oregon Phone: Broadway 1957 SuS OREGON t MILITARY Shirts 8 AGADEMY tailored to measure Peaceful Acres I Hillsboro, Oregon 8 from 8 Boys accepted 6 to 18. distinctive Twenty acres of beautiful grounds. 8 8 Military training. shirtings Advanced students attend Hillsboro f High School. 8 Fifty Pupils Now. I CAPT. HARRY S. JOHNSON Jones ana^^ Jehlinger Commandant I 8 Business Office: 422 Yeon Bldg. Furnishers Portland, Oregon Hatters Custom Shirt Makers 8 E. P. RODLEY, Rusiness Manager Phone MAin 2920 381 WASHINGTON 8 Pillock Block 8 &s3 PI PEOPLES NOW—Pola Negri in "Shadows of Paris" Guarantors A nnouncmg Portland Performances Chicago Civic Opera Company SUMMER TERM Eric Hauser Multnomah Hotel Meier & Frank Co. J. L. Meier Conserbatorp W. B. Ayer JUNE 19 Mrs. T. B. Wilcox TO Hotel Benson JULY 31 by Percy F. Smith, Mgr. Seiberling-Lucas Music Co. per Frank Lucas Re -engagement Charles F. Berg LomsVicTOR Saar Sherman Clay & Co. Eminent Theorist and Composer by J. H. Dundore Piano - Tkeory - Composition Guy W. Talbot Franklin T. Griffith Mrs. Thomas Louis Lang Garrick Burke Wm. D. Wheelwright Formerly of Portland Now New York City I. F. Powers Piano - Lesc Letizky Method M. L. Kline Classes in Interpretation Josephine Hirsch and epertoire C. H. Davis, Jr. REGULAR FACULTY Lipman Wolfe & Co. IN by Adolph Wolfe ALL DEPARTMENTS W. B. Beebe Piano-Voice-Violin-Violoncello-Flute Organ - Theory - Harmony - Musical Mr. and Mrs. F. J. Cobbs Kindergarten - Orchestra-Speech Arts The Irvin Hodson Co. Stage Craft - French - Coaching by S. M. Luders Musical Companies Porter Building Co. by Andrew R. Porter DUNNING Pihl Transfer Co. DEPARTMENT H. M. Pihl Under direction George L. and J. A. McPherson Mrs. Nelle Rothwell May I. Lowengart Lillian Jennings Clarkson, Director of Activities, is planning many concerts Harry J. Nicolai for the Spring months. Hicks-Chatten Engraving Co. RUTH CREED DAVID CAMPBELL by Frank E. Andrews Registrar Director {Continued) PEOPLES NEXT WEEK—Pola Negri in "Shadows ef Paris" FOR MODERN METHODS IN MUSIC See L. CARROLL DAY at the ^^^^^^^^^ PRINCIPAL DEPARTMENTS CONDUCTED BY MR. MILTON A. DUNHAM—Violin and Reeds. Mr. Dunham conducts weekly orchestra rehearsal without charge to students. MRS. EVERETT MARSHALL HURD—Dramatics Mrs. Hurd gives both private instruction and class work in the actual production of plays. MISS IMOGENE SETON—Classical Ballet Miss Seton gives private and class lessons. Numerous classes for students of various ages from three years up. MISS ELEANOR LOUISE STOCKTON—Voice and Piano Miss Stockton prepares her students for either concert or accompaniment work Mrs. GLADYS AIKEN—Strings Mrs. Aiken specializes on the guitar, mandolin and banjo. MR. L. CARROLL DAY—Voice and Piano Mr. Day does a great deal of chorus, quartette and glee club directing. THIS CONSERVATORY CONDUCTS A MONTHLY RECITAL 148 Thirteenth Street, near Morrison Street Broadway 2555 Kansas City Life One of America's Strongest Insurance Companies OVER $260,000,000 IN FORCE TODAY CHARLES GRAMM, Manager for Oregon MAin 1252 1301 NORTHWESTERN BANK BUILDING R1VOLI NOW—"Flaming Barriers" ; . Guarantors Portland Performances jglf ter tfje— Chicago Civic Opera Company (Continued) Olds, Wortman & King per H. C. Wortman You'll find the Edward Cookingham Hazelwoods the most delightful rendevoux Mr. and Mrs. Harry L Corbett possible for discus• J. C. Ainsworth and sing this very excel• Maud Ainsworth lent performance! Mr. and Mrs. Peter Kerr You're sure of meeting Steers & Coman informally many acquaint• Hazelwood Restaurants ances here, who too, enjoy by J. H. and G. G. Joyce Opera. Estate of Henry Failing by W. C. Alvord Excellent cuisine Telegram Publishing Co. which offers you a widely by G. L. Law varied choice of both Journal Publishing Co. Fountain and Restaurant by S. R. Winch service. The Oregonian Attractive surround• by C. A. Morden ings and good service J. B. Yeon combine to make our G. F. Johnson Piano Co. restaurants the happiest G. F. Johnson, Pres. of places "for a bite to eat" W. J. Burns or for a full course dinner. Woodward Clarke & Co. by William F. Woodward, Secretary. ^kazelcDOCxJ H. B. Van Duzer <ZJ \C0NFECTIONERY &RE5TAURANT G. L. Parker 388 Washington St. B. B. Beekman Red Top Cab Co. T3roadu)ay by F. W. Grosspeter ^kazelcDOod The Official Grand Opera CJ ^CONFECTIONERY &.RESTAURAKT Cab 127 Broadway" F. C. Knapp Sanford Lowengart East Side Hotel Oregon Inc. by A. H. Meyers, Manager Hazelwood John A. Zehnthauer E. Broadway at Wheeler i . RIVOLI NEXT WEEK—"The Eternal City" f "Personal Service" Furniture and Merchandise Storage, Moving, Packing and Shipping Carload Distributors Warehouse on Free Trackage Pihl Transfer & Storage Go.
Recommended publications
  • 8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
    8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
    [Show full text]
  • Annual Report 2016
    McGill Library and Archives Annual Report 2016 Annual Report 2016 1 Table of Contents 1. Dean’s Message ------------------------------------------ 1 2. Research and Publications ------------------------------- 2 3. Teaching and Learning ----------------------------------- 3 4. Involvement in the Community --------------------------- 5 5. Human Resources: Milestones --------------------------- 10 6. Honours, Awards and Prizes ----------------------------- 10 7. Fiat Lux -------------------------------------------------- 11 8. Facilities ------------------------------------------------- 12 9. Budget --------------------------------------------------- 13 10. Fundraising ---------------------------------------------- 15 11. Academic Unit Reviews ---------------------------------- 16 Appendices A. Selected Research & Publications ----------------------- 17 B. Human Resources Report -------------------------------- 19 C. Loaned Items -------------------------------------------- 23 D. Notable Rare & Special Acquisitions --------------------- 24 E. Facts and Figures ---------------------------------------- 26 Annual Report 2016 2 Dean’s Message 2016 was a great year for the McGill Library and Archives. We are at a pivotal point in our history and much of the year was dedicated to promoting and advancing Fiat Lux, our ambitious plan to reimagine the McLennan-Redpath Complex for the 21st century. The project team (myself, Planning and Resources and Communications staff, University Advancement, McGill’s Planning Department, VP University Services,
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [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]
  • El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
    Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
    [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]
  • 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]
  • 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]
  • Fashions at Extremelylow Prices
    register of the voice were there sugges¬ on November IB will have Ossip Gabril- BROOKLYN ADVERTISEMENT BROOKLYN ADVERTISEMENT tions of tho old lusciousness of tone and owitsch as the soloist. There will be a BROOKLYN ADVERTISEMENT BROOKLYN Recollections of thnt Programmes ADVERTISEMENT purity of,intonation which had led Christmas concert on December 13 and Steinwny at the banquet in 1884 to laud on January 3 Mr. Damrosch and the as 'so clear to the heart of an old piano- New York Symphony Orchestra will Of the Week  Famous tuner.' Mme. I'atti out of havo Mischa the distinguished singing tune; Levitzki, Station Mme. Patti gasping for breath; Mme. young American pianist, as the assist- Every I'atti chopping phrases into quivering ing artist. The remaining concerts will SUNDAY on the West bits without thought or compunction; be on January 31, February 21 and Aeolian Hall, 3 p. m., recital Side Subway song by Lines is an Start Singer Mine. Patti producing tones in a manner March 6, when the assisting attractions Cyrena Van Gordon, contralto: that ought to be held up na a warning will bo respectively Fritz Kreisler, Adolf Entrance- to Opn» to Mme. Patti Bolm's Ballet Intime Miss Should He Upbraid.Sir H. R. Bishop the A. ft 6. example every novice; and Lucy Come, Beloved .Handel UM. Continued from page 11 devoid of all but a shadow of that tone Gates." A Pastoral .Carey Private Sub¬ of opulent beauty, of that incomparable In addition to the young people's Coucher de Soleil,.René Lenormand way Entrance Close« technical skill which used to make dal- series, children will enter this year Tes Yeux .René Rabey for a 6c Fare.
    [Show full text]
  • Lps-Vocal Recitals All Just About 1-2 Unless Otherwise Described
    LPs-Vocal Recitals All just about 1-2 unless otherwise described. Single LPs unless otherwise indicated. Original printed matter with sets should be included. 4208. LUCINE AMARA [s]. RECITAL. With David Benedict [pno]. Music of Donaudy, De- bussy, de Falla, Szulc, Turina, Schu- mann, Brahms, etc. Cambridge Stereo CRS 1704. $8.00. 4229. AGNES BALTSA [ms]. OPERA RECITAL. From Cenerentola, Il Barbiere di Siviglia, La Favorita, La Clemenza di Tito , etc. Digital stereo 067-64-563 . Cover signed by Baltza . $10.00. 4209. ROLF BJÖRLING [t]. SONGS [In Swedish]. Music of Widéem, Peterson-Berger, Nord- qvist, Sjögren, etc. The vocal timbre is quite similar to that of Papa. Odeon PMES 552. $7.00. 3727. GRACE BUMBRY [ms]. OPERA ARIAS. From Camen, Sappho, Samson et Dalila, Dr. Frieder Weissmann and Don Carlos, Cavalleria Rustican a, etc. Sylvia Willink-Quiel, 1981 Deut. Gram. Stereo SLPM 138 826. Sealed . $7.00. 4213. MONTSERAAT CABALLÉ [s]. ROSSINI RARITIES. Orch. dir. Carlo Felice Cillario. From Armida, Tancredi, Otello, Stabat Mater, etc. Rear cover signed by Caballé . RCA Victor LSC-3015. $12.00. 4211. FRANCO CORELLI [t] SINGS “GRANADA” AND OTHER ROMANTIC SONGS. Orch. dir Raffaele Mingardo. Capitol Stereo SP 8661. Cover signed by Corelli . $15.00. 4212. PHYLLLIS CURTIN [s]. CANTIGAS Y CANCIONES OF LATIN AMERICA. With Ryan Edwards [pno]. Music of Villa-Lobos, Tavares, Ginastera, etc. Rear cover signed by Curtin. Vanguard Stereolab VSD-71125. $10.00. 4222. EILEEN FARRELL [s]. SINGS FRENCH AND ITALIAN SONGS. Music of Respighi, Castelnuovo-Tedesco, Debussy. Piano acc. George Trovillo. Columbia Stereo MS- 6524. Factory sealed. $6.00.
    [Show full text]
  • Problems of Tempo in Puccini's Operas
    Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances.
    [Show full text]