MUSIC AND RECORDS.

Dominion, Volume 21, Issue 114, 11 February 1928, Page 20

MUSIC AND RECORDS.

Grand Opera in Sydney. The grand opera season organised by Messrs. Gonsalez, under the management of Sir Benjamin and Mr. John Fuller, is to be opened in Sydney at the St. James’ Theatre, on March 10, with “11 Trovatore.” Three operas will be produced in the first week, the others being “Traviata” and “Un hallo in Maschera.” Active preparations are now being made for this season. One of the conductors, Signor Ernesto Gonsalez, will arrive in Sydney on February 10, and the other, Signor Giovanni Gonsalez, on February ‘23. Meanwhile the singers required for the chorus, and possibly for minor roles, are being tested, in readiness for the season; and recently there was another series of voice trials at the St. James’ Theatre, where those aspirants who bad survived the elimination tests previously conducted, were subjected to a further e: amination in scale singing and other ej excises, designed with the view of proving their aptitude in the study of operatic roles. These candidates were heard again by Messrs. Roland Foster, Alfred Hill, Folli, and W. J. Douglas 'general manager for Fuller’s), with Mr. Hamilton Webber as pianist. The voices, having passed the earlier tests, were above the average in quality an i range, and the proportion of trained singers was naturally much better than at the earlier audition. The final choice, however, will not be made until Signor Giuseppe Gonsalez, at present in Italy, has been further consulted by cable message. Music in America.

Writing to "C.J.M.” from New York, under date of January 1, Mr. E. J. Gravestock tells that New York at the moment is paradise for the music-lover. During the forthcoming week he can choose from the following list:—Paderewski, Heifetz, Moiseiwtsch, the New York Symphony Orchestra, New York Philharmonic Orchestra, Boston Symphony Orchestra, and a dozen minor but first-rate concert artists, or, if he prefers opera, he can hear Galli-Curci, Jevitza, Rosa Ponselle, Gigli, Martinelli, Ruflo, and some of the other hundred odd operatic artists at the Metropolitan Opera House, whilst in the immediate

past and the near future Kreisler, Ignaz Friedman, Joska Szigeti, Harold Samuels, Myra Hess, Sir Thomas Beecham, Signorina Dusolina Giannini, Shura Cherkassky, Yehudi Menuhin, are a few of the great ones available for the asking. British musicians are represented by Harold Samuels, Myra Hess, and Irene Scharrer, all pianists, who have scored really great triumphs during the past week, and the popular singers, Miss Amy Evans and Mr. Fraser Gauge, who are well remembered in Australia and New Zealand from their tour some years ago; and who have been remarkably successful here during the past few seasons. Whilst arriving on Tuesday is Sir Thomas Beecham, who makes his American debut as a conductor in a few day's. Australia has as its representative Florence Austral and John Amadio, who arrived last week from London for a big tour. Austral has won a remarkable position here in the short time of three years, and she is now one of the highest paid sopranos in the country. In addition to the multitude of concerts, the three big picture theatres, Roxy with a seating capacity of over 6000 people, and undoubtedly the most beautiful theatre in the world, the Paramount, and the Capital, all have large symphony orchestras, which play the best in music literature. On Sunday mornings at 11.30 a.m., the Roxy Theatre gives a symphony concert, w'ith its orchestra of 110 players, with the added attraction of a famous concert

star. The concert is followed by the full vaudeville and picture entertainment. The total cost of admission is one dollar (45.). The only cheap entertainment I know in New York. As a matter of fact, there is really nothing cheap about New York. Admission to concerts of all kinds range from 30s. to 4s. The normal prices for grand opera are 355. to as., but it is rarely one is able to obtain a ticket at its face value, as the speculators secure

them, and resell them at exhorbitant prices. Fortunately this evil looks like being abolished, as a law is being enforced which prevents ticket agents from reselling tickets at more than 2s. above its face value. Theatre prices range from 355. to 4s. per seat. The big musical comedies only command the top prices, although the average price for.straight comedy and drama is 14s: Last week I paid 225. per seat for two seats for the opening night of Judith Anderson in George Kelly’s new play, “Behold the Bridegroom,” which incidentally was a great triumph for both star and" author, and is hailed as one of the best plays of the year. An interesting side of the theatre ticket speculator’s business, is the “cut-rate” store. If a show is - not doing good business, or a speculator has made a bad bargain, and is left with the tickets on his hands which

he cannot sell at a premium, or at its real price, they are sent to the “cutrate” store. For 2s. anyone can purchase a discount card which entitles

the holder to buy three tickets which are on the “cut-rate” for half-price, and from 6 p.m. onwards to theatre time, pandemonium reigns at this store. Thirty or forty loud-voiced assistants call the prices, and the show for which they have tickets available, to the hundreds of people, that file constantly in and out. Needless to say it is rarely that the big successes figure in the “cut-rate,” although many good shows which hover between failure and success have been kept, going to eventual success by this arrangement.

Two marvellous boy prodigies have caused considerable excitement recently in music here. Yehudi Menuhin and Shura Cherkassky. The first, a ten-year-old American, born of Russian parents, who plays the violin like a great master, and who has dumbfounded the critics and musicians generally by his uncanny ability to override all technical difficulties and seriously interpret such great works as the Brahms concerto, and Bach’s Chaconne. His parents are fully alive t o the necessity of nurturing this young genius, and already a fortune has been refused in fees, and his public appearances are to be limited to about a dozen concerts a year for the present Cherkaasky is a sixteen-year-old Russian from Odessa, that marvellous town which has given so many great musicians to the world. He made his debut in New York three years ago, and his music developments have been carefully watched by Josef Hofmann, Paderewski, and other great artists, who have taken, a personal interest in him. Theodore Stearns, in the New York “Morning Telegram” says: “Theosophists might call this boy pianist the reincarnation of a Carl Tausig or a Franz Liszt, I call him the greatest child artist I have ever met.” I have never seen an audience so impressed as the vast crowd that packed the Carnegie Hall a few days ago to hear him.

With the high rates of admission to concerts and theatres, fees to artists also are on a comparatively high scale I saw a contract recently for Signorina Dusolina Giannini, the beautiful Italian singer, who has created such a furore in America, whereby she was to receive £350 (1750 dollars) to sing one aria jyitli orchestra at the Rosy Theatre

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(Symphony Concert. Florence Australs’ contract for America, guarantees her £lO,OOO for forty concerts. Levitixi, the popular pianist, beloved by Australians, received £2(JOO for two weeks’ t engagement any time he is available , during the forthcoming year. Salaries 5 for actors and actresses are on a sinii- - lar high scale, and the difficulties of > the entrepreneur, who is trying to : entice successful artists to Australia - and New Zealand can be appreciated. A brief, but enjoyable, stay in Chi- ' cago enabled me to visit the Chicago i Civic Grand Opera performances four - times. A big number of operatic art--1 ists, who are only names to most mu-sic-lovers in Australia and New Zea--1 land, with one or two exceptions, were f attracting crowded houses—Rosa Raisa, , Claudio Muzia, Toti dal Monte, Charles 1 Hackett, Tito Schipa, Formichi. The vast auditorium, which holds over 3500 people, was a joy to see, and one mentally conjured up a similar opera house in Sydney and Melbourne. The financial side seems all so easy—soo ChicagoI ailts guarantee £2OO each year, and 1 they have a twenty weeks’ opera seaI son, which enables them to include a visit to Boston, Milwaukee, and Minneapolis. The property on -which the auditorium is built has become so valuable that it is to be demolished, and a vast sky-scraper is to be erected. As this would leave the town without. a home for its grand opera, the energetic multi-millionaire president of the Chicago Civic Opera Company, who is, by the way, an Englishman, has arranged with a few other Chicago millionaires to build its own “sky-scraper,” which will include a . perfect Opera House, and a small rehearsal theatre, at a cost of five million pounds sterling. They anticipate that the rentals forthcoming from offices, shops, etc., will repay the capital outlay in a few years, and quote as example a forty-story sky-scraper built in Chicago five years ago, at a cost of three millions sterling, by a big banking concern, which wrote the building off at a dollar a few weeks ago. The New York Metropolitan Opera House is also having its troubles, as improved land values are forcing it from its present position, and securing a suitable site is proving a greater problem than actual successful running of opera. A new and delightful form of entertainment which has caught on in England and America is that presented by Ruth Draper in London, and Cornelia Otis Skinner in New York. Both are great artists, and their offerings are the delineation of feminine types. Alone, on an empty stage, they present little dramas of life and love and tragedy, until the barren stage is no longer barren, and the performer is no longer alone. Miss Skinner is a daughter of Otis Skinner, one of America’s most famous actors. A charming personality and a great entertainer. Whilst Miss Skinner is attracting crowded houses tn New York, Miss Draper is attracting likewise in London. Their sketches are all original, and creations from their own pens. RECORDED MUSIC A World-Famous ’Cellist. Fabio Casals (’Cellist), in “Gavotte Tendre” (Hillemacher), “Menuet” (Debussy). H.M.V. D.A. 862. Whether in Hillemacher’s fascinating “Gavotte” or in Debussy’s charming “Menuet,” Pablo Casals gives a further proof of his wonderful artistic insight, beautiful tone, and perfect technique, living up to his reputation as the “King of ’Cellists.” Favourite Songs by a Soprano Star. Marion Talley (soprano), in “Swiss Echo Song” (Eckert), and "Lo, Here the Gentle Lark” (Bishop). H.M.V. D.B. 1023). Marion Talley is the young singer who not long ago brought New York to her feet in a single night. As one would expect, she has a remarkable voice, and in this record she gives us a vocal display of great brilliance. Both the pieces are famous as vehicles for the display of the attainments of the coloratura soprano, and the fact that Marion Talley’s record has to stand comparison with those of the greatest singers of the day is no disadvantage. “Lo, Here the Gentle Lark” has a cadenza for voice and flute in which they vie with one another in an exhibition of agility: a test of intonation and the flexibility of the voice, of great difficulty. Bluff Harry Dearth.

Harry Dearth (Bass), in “Onoway Awake Beloved” (Cowen) and “Leanin’ ” (Sterndale-Bennett). H.M.V. C. 1344. There is one singer whose name we shall always associate with songs like “Stone-Cracker John”; it is Harry Dearth. His bluff hearty voice is perfectly suited to this kind of song. It is fortunate, therefore, that it is he who should make this record of the popular song, "Leanin’,” the song of a yokel who finds a very simple outlet for his energies. It is superbly sung and wonderfully clearly reproduced. Ballet Music on the Wurlitzer. Reginald Foort (Wurlitzer Organ), in Ballet Egvptien. Parts 3 and 4. (Lugini). H.M.V. 8.2479. Reginald Foort has already given us the first two parts of Luigini’s everpopular “Ballet Egvptien,” so that a great number of people will be pleased by the issue of the complementary record which completes the “Ballet.” All

C.J.M.

the brilliant and fascinating effects imaginable are obtained from the Wurlitzer Organ.

Two Popular Hits. Aileen Stanley and Johnny Marvin in “Red Lips Kiss My Blues Away” and “Under the Moon (Yoo-00-00-oo)’’.With violin, guitar, and piano. H.M.V. E.A. 212.

The first duet is all excitement; there is a lot of kissing and whispering, the general impression being that someone has just turned off the switch and the couple is in darkness. The second title is worked into a charming popular song melody. A Real Mirth Provoker.

Will Kings (Humorous)—“Bertram at the Rotarv Dinner” 'Memy) and “Bertram Addresses the Tenants” (Rutherford). H.M.V. C. 1340. Most of us have met the silly ass type of fellow, hut never, we think, one quite so inane as Will King’s amusing creation. Two of the most humorous records ever issued. The two speeches are most amusing, because they are so near the truth. You will roar with laughter and want all your friends to hear them. A New Granforte Disc.

Apollo Granforte (baritone), in "Faust,” Dio Possente (Even Bravest Heart) and “Carmen,” Song of the Toreador.

Granforte made a great success in Australia three years ago, and his reputation is already a glowing one. When you hear such a record as this you will understand why. His voice is of great range and volume, and is produced with a liquid ease found very rarely nowadays. Both the airs are popular ones. The broad flowing melody of “Even Bravest Heart” and the vigorous swing of the famous "Toreador Song” are pleasantlv ’ contrasted in character. H.M.V., D 8938.

Favourite “Messiah” Numbers. Rachel Morton (soprano), in “I Know That Mv Redeemer Liveth” and “Come Unto Him” (“Messiah”). H.M.V., D 1247.

It is something of a paradox that Rachel Morton’s voice should be ideally suited to these two famous air’s from oratorio, for she is first and foremost an operatic soprano. The voice is of lovely quality—cool and soft in texture and produced effortlessly. Of the airs themselves we need say little; both are too well known. But the record should prove extremely popular

A Charming Pianoforte Bracket. Una Bourne (pianoforte), in “Rondo alia Turca” (Mozart), and “Polish Dance,” Op. 3, No. 1 (Scharwenka). H.M.V. 82492.

Una Bourne’s performances have always a characteristic delicacy and lightness of touch which is positively refreshing in the hectic times in which we live. She has given us the famous “Turkish Rondo” of Mozart, and coupled with it the fiery little “Polish Dance” of the Polish composer, Xavier Scharwenka. Mozart’s “Rondo” is delightfully played and recorded, and after its daintiness the fire of Scharwenka’s “Dance” is accentuated. The record is one which should fill a gap in every phonograph lover’s library of records.

Light Opera Gems. Here is a fascinating disc—the Victor Light Opera Company in gems from “Robin Hood” (De Koven). H.M.V., EBI4. The feature of these melodious gems from Reginald De Koven’s “Robin Hood,” the most popular American opera ever produced, is the magnificent singing of the soloists, whose splendid voices are superbly reproduced. At least, one song from De Koven’s opera, which is sung on side one (“O Promise Me”), is known in every Australian or New Zealand home. The soloists are artists of the very first rank, although their names are not revealed.

A Gay Comedienne. Elsie Carlisle has an established reputation for airy trifles, delivered irresistibly. Here she gives us “Baby” (“Castles in the Air”) —“Since I Found You.” H.M.V., 82489. This is the first “His Master’s Voice” record of quite an exceptional young artiste, who possesses personality and sings with spirit and energy.

A Welcome Disc. Those who remember the first effort of Creatore’s Band for H.M.V. will welcome another disc from this fine band. Here we have them in H.M.V. EBIS, “Pagliacci,” selection, parts 1 and 2 (Leoncavallo). The opera lover will find in this fine selection the most popular melodies of this favourite opera magnificently played and recorded. A record that should not be missed. The Cherniavsky Trio.

Music lovers in New Zealand are fortunate in the presence in this country of the remarkable brothers. Leo, Jan and Mischel Chermavsky, who, superlative artists in themselves, are even more famous as one of the greatest trios that has ever appeared on a cencert platform. When they made this first tour of Russia at an incredibly early age, the pieniature development of their fine faculties and the really extraordinarv brilliance of their work made their name a household word. They achieved successes without parallel in the musical history of their country and then, encouraged by the highest’ praise of critics, decided that there were other fields to conquer. Since 1901, they have played in ever}' quarter of the world and everywhere,

in Germany, Austria, England, the United States, China, Japan, and throughout the British Empire-, they have bee-11 as warmly received as in their native laud. Individually, the three brothers were remarkable lor precocity even ill an art which has produced "more in ' lant prodigies” than any other. Leo Cherniavsky made his first appearance as a violinist at -.he age of six years, and was thus responsible for the greatest musical sensation of the day in the Ukraine. Jan, the pianist, made his first conceit tour with Leo at the age of seven. Mischel the ’cellist, and of his earlv placing the famous critic Nesbitt remarked “In little Mischel Cherniavsky the world may one day recognise, its greatest ’cellist. Asa trio, of course, the brothers stand unique. The most striking feature of their work is that three powerful and temperamental artists, all individuals, should appear to such jjerfection as a single unit. There could not be greater understanding, sympathy and unity of purpose than exists between these brothers. The Cherniavsky Trio records exclusively for Columbia, who have issued a fine series of records of their playing. Theie are no less than fourteen alreadyava.lable, and others are now being pressed. To my mind the best of them is Dvork’s Slav Pause in E Minor, coupled with Sibelius’s lovely ,Valse Triste (Col. 0841) : but also good is Schubert’s jolly little Scherzo from the B Flat Major Trio (Col. 0801). ..This last record I should most certainly re commend to all lovers of the violin, for on the reverse side Leo Cherniavsky plavs as a solo Kreisler’s arrangement of Chaminade’s Spanish Serenade and the r<?cord is a marvellous revelation of his clear and facile tone and flawless execution. Two Lovely Aubades (1) “Aubade in G Minor,” (2) “Aui>ade in D Minor” ILalo). Sir Henry Wood conducting the Queen’s Hall Orchestra. Columbia L 1531. Edouard Lalo was born in 1823, took the prix de Rome in 1847, produced a number of musical works, devoted his latter energies to the composing of operas, was covered with honours and hailed by his age as the greatest genius, etc., and then died in 1892 and was forgotten. At least, we have forgotten the the bulk of his work, but a few fragments serve to remind us of a composer extraordinarily rich in thematic invention and a master of orchestration. These Aubades surelv suggest that here is a composer who deserves a better fate. That in G Minor is deliciously fragrant, and sweet, and the D Minor, after a somewhat abrupt opening, mellows into a captivating tune. An Aubade is, of course, a morning song as opposed to the Serenade, an evening song. A Russian Bass. (1) "The Song of the Flea” (Moussorgski), (2) “Drinking” (traditional). Sung by Capiton Zaporojetz, bass. Columbia 04028. Nothing more emphatically _ sets the seal on the reputation of a living artist than to appear in the International Celebrity Subscription Concerts that are held in the more important centres of Great Britain. None but the very greatest artists are thus honoured, and this season sees a new addition to their ranks in Capiton Zaporojetz, a Russian bass with a great European.reputation. On his first Columbia records lie sings two familiar numbers, “Drinking” and “The Song of the Flea.” Notice the extraordinary sonority of the low’ notes in “Drinking,” and the ease with which ’’the singer drops down to them. That Zaporojetz is not only a singer but a true character actor is shown by his rendering of Moussorgski’s fantastic and highly effective “Song of the Flea.” The unholy chuckles are quite Satanic, and though the language is Russian, he conveys the spirit of the words in unmistakable fashion. It is a mighty record of

power, and every note comes through with a richness of depth that betokens Zaporojetz for a master among the basses of the w.orld. 'Maria Gentile.

(1) “Sextette from Lucia Di Lamtnermoor” (Donizetti), (2) “La Sonnambula —D’un Pensiero” (Bellini). Sung by Maria Gentile, Dino Borgioli, etc., and La Scala Chorus of Milan. Columbia 01025.

The facilities created by the new electrical process continue to enrich the Columbia catalogue with surprisingly clear and' sonorous records of the big operate ensembles, obtained for the most part at La Scala, Milan. This record re-introduces us to Donizetti and Bellini, two of the most celebrated Italian opera composers of the last century, in their most characteristic and effective moments. The sextet from “Lucia” s full of contrast and refinement. The famous D’un Pensiero, however, embodying the situation in tho second act of Sonhambula, which Sullivan so cleverly parodies musically in “Trial by Jury,” is even better balanced. Maria Gentile’s glorious soprano is much more in command, and her E flat in alt at the end is remarkably #6od. She reigns supreme in virtue alike of her music and her voice.

Sir Hamilton Harty. Romeo and Juliet “Queen Mab” Scherzo, in two parts (Berlioz). Sir Hamilton Harty conducting the Halle Orchestra. Columbia 04027. This is one the the best tests we could have of the new string tone. The result surpasses my hopes. It is extremely difficult, in any performance, to get the delicacy and elfishwithout making the music sound weak and thin. Ido not thjjik any recorded performance could give us better tone-value at present. Those Halle strings, which I think the best String body now recording, are true and keen, without making harsh sounds or getting brittle. There is here no room for the harsh criticism of a Parisian writer, when the piece was first heard—that it was "a little noise like a badly-oiled squirt.” Another spoke of “an orchestra -of grasshoppers.” A Clever Violinist. “Caprice” No. 24 (Variations in A MiriOr) (Paganini). In two parts. Columbia 08513. Joseph Szigeti givts us an electri-. fying performance of Paganini’s “Caprice” No. 24 (in A minor). Brahms took the theme of this work as the basis for a series of brilliant variations for piano; here we have it in the original version for violin When it cotties to fireworks Paganini, with Paganini’s own variations,- is hard to beat, and the success with *vhich Szigeti sets off one squib after another will excite universal admiration; the smoothness and accurate intonation of his octaves are especially remarkable. A Fine Choir. (1) “The Radiant Morn Hath Passed Away” (Woodward), (2) "O Taste and See How Gracious the Lord Is” (Goss). Sir Henry Coward conducting the Sheffield Choir. Columbia 02527. ” Two of- the finest performances any choir has yet given us, and a new triumph of public hall recording. We do not know when we have heard more magnificent singing than in these two great anthems recorded by the Sheffield Choir in Wesley’s Chapel., The ensemble is perfect, the words are really clear, and due, doubtless to the wonderful precision of the singing under Sir Henry Coward and the remarkable acoustic properties of Wesley’s Chapel, the volume and clarityare amazing. These are big reCords, and will create another sensation. Glasgow Cathedral Organ, ' (1) “Ave Marla” (Schubert), (2) “Fugue Alla Gigjue” (Bach). Herbert Walton, organist. Another great cathedral laid under contribution to provide worthy organ music for the gramophone—the splendid instrument in Glasgow Cathedral Sayed by its Well-known organist, Mr. erbert Walton. There is superb dig.tiity in Schubert’s “Ave Maria,” am a vivid contrast in Bach’s jolly, little.

“Fugue Alla Gigue.” Mr. Walton plays with all his accustomed skill, and- has succeded in giving us, not only a very fine reproduction of the great organ’s rich tone, but has captured the' atmosphere of the cathedral as well. Parlophone. The “Jena Symphony” attributed to Beethoven is an extremely pleasant little work, more like a Haydn symphony than anything else, and it is just the kind of work that the gramophone ought to give us from time to time. It is admirably recorded ; in fact, Farlophone recording is steadily improving all the time, and there is an authentic quality about their strings. The “Stradella” and the “Barber of Bagdad Overtutes,” both (like the svinphony) under the baton of Dr. Weissmann', are welcome additions. Neither of these overtures gets played often here, but any student of World Radio will know how often they are played on the Continent, and both of them are examples of thoroughly pleasant, easv-to-listert-to music. The Edith Lotand Orchestra gives us a “Vienese Pot Pourri,” which is a model muster of familiar and favourite melodies; and an excellent “Fantasia” on the tunes of Rigoletto. Brunswick. The “Prelude” and “Intermezzo” from Mascagni's “Cavalleria Rustic cana,” has been recorded for Brunswick by the Metropolitan Opera House Orchestra (&0067). By the new process this makes a fine disc. . A welcome disc conies from Claire Dux, a- charming soprano, well-known to Brunswick listeners. Here we hive her in ‘I would weave a song for you and “Lullabv” (10252). Other good recent Brunswick discs include: “Gipsy Love Song, from “The Fortune Teller,” and “Bedouin Lcve Song” (baritone, Richard Bonelli), 102(54 ; “Lucre Zia Borgia” (Drinking Song), and “11 Trovatore” (“Stride La Vampa”), Sign’d Onegin (15110) ; AL ricana” (“O Paradiso”), and “Manon (“La Rcve), tenor; Mario Chamlee (15111).