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April 27, 1924 - Image 13

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Publication:
The Michigan Daily, 1924-04-27

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A

May Festival

The

Braslau, True Co
Will Ap~

Thei~3 i~ sox tiu~ ~in t1~e quajity
of the ~ like t~e;se~su-
ous swee~nes%4 ~f t~e A st'ing 01. a
'cello Which strikes a re3ponsive
chord in the hearts of all the world.
It is a- voice which exceeds every
other in range; in the high regions,
above th~i staff usually regarded the
exclusive range of tenors an(l 50-
pranos, It is easily at home, while in
the lower register It can often des-
cend to low D without any diminu-
tion in 'volume' dr in the Lull, round
quality of the' tone. While the mezzo
sdprano is more penetrating, perhaps
more ad~tWe to true' dramatic force,
the cont~ilt~ ~surpasses it as it sur-
passes ever Wother voice in tender-
ne~, in r hnes~ss, in volume, and
sometim~ k ~flexibility. It is a voice
that is a&~r as it is beautiful. The
musIcal o is Cull of sopranos of I
tenors, k ha~ a goodly number I
of basses b ~there are few real con-f
traltos. ~ who pose as such are
merely sop;ranos who in their
attempt late the tones of a true
contralto a their voices to be-
come ch t mannish, and degener-
ate into tt ~more than female bari-
tones. 'l~e, of gre t contraltos is
small. ~eg~ ping with Marietta Al-
boni, the ~t celebr~.ted singer of 1
the earl~ lneteenth century, the
crown ~ f, to the incomparable
Schalchi, 1l~. italian a~ociate of the
mighty Patt <'When Schalchi toured
this coun~r with the de Reszke~ K
Emma Aimes, and all that brilliant'
constellation <of stars led by Maurice I:
Grau, she created a most profound
impression. The fact that her name
is not well known today is that she I
shone in competition to Patti, a ~itar
of the first magnitude. Schaichi dis-
appeared, and Vrnestine Sohumaun I

,c~) 'I' Kassel, Germany, April 26.-(A.P.) a fall from a height of 90 feet
Idol ut SpaYn tenors
1Arv;t' , -Otto Linnekogel, the famous war ently was a victim of nervc
~ntralto, F
pear At Festival amous Russian To Make First Appearance Here pilot who recently broke his neck in lapse.
rI7roupe To Play When one has heard Tito Schipa tiful singing is the only means of
II Marhrn BI sing, one understands why all the V eying a vocal message. One may be
greatest love songs in the world are dramatic, intense, but one should
Four Russian plays, with titles, written for the tenor voice. For a ne'ver cease to sing. Critics say that
which are translatable into English by lyrical tenor such as his, used as he they "have never heard so finished, so
authors whose names are ont, will be uses it, is the tenderest and most sym- intelligent singing from a man or
presented by the Moscow Art Theater pathetic voice given to man. St~ch audi woman in the concert hall."
this week at the Garrick, Detroit. many more are the praises .whlch h~ive
The plays are "The Cherry Orchard,'~ been he~.ped, during four seasons of i ___________________ -
I "The Lower Depths," "The Brothers I musical triumphs, upon this young
Karamazoff," and "Tsar Feodor Dos- j Italian tenor who will ping at. the AIUSIC AATD
toievsky," and the authors Tolstoy, coming May Festival, May 21. 22, 23, MUSICIANS proper atmosphere
Anton Tchekhoff, Maxim Gorky, and 24. . The
Fyodor Dostoievsky. The names of thirty-three; yet he
the leading actors of the company ap- Schipa is but
pear to be even more be-sprinkled accomplished in a single season what I SeJi~imann-Heink
others have spent years to achieve:
with consants than those of the auth- The last important concert of the
ors, because to most of us they are the fame that makes people call him current Detroit season will take place
less familiar. But within the next the "best singer of their day." He at 8:15 o'clock tomorrow night when
week there will be many in Detroit came to America the "idol of Spain," Madame Ernestine Schumann-H cink,
and made his (lebut as premier lyric the famous contralto, comes to Arena
and vicinity who will learn the names tenor of the Chicago Opera company Gardens under the auspices of the
of Constantin Stanislavaky, who is
notable as the founder and as one of I '~<-~ - Civic Music League. Madame Schu-
the directors of the company; and of - maun-Heink, who has been before the I
~ ~~:' Mine. Tchekhova, who is one of the j public for almost half a century, is:
leading artistes of the "Cherry ~Or- I one of the outstanding figures in the
chard." and the widow of Anton J music of the generation and at the
Tchekhov; and of all the Ivans, who age of 60 her voice and art are still
nun-the:' six at least. ~, .. being enthusiastically received.
The first night will be devoted to j . - Th~ singer will' offer
t1~e presentation of "Tsar F'yodor ~ "~ 'A, '~ a program of songs and operatic ex- I~or Sp~ii g
~ ~.. ~/
Ivanovitch," with Mine. Tchekhova . .~..1..~ erpts. 'Following her recent appear-
and Ivan Moskvin in leading roles. '<'."< J ance Ip Chicago, Edward Moore of the
The play is hi:torical in character, Tribuue, declared ,that "she is still a
d~ling 'with tire career of the zecond very great singer," while her concert
pon of Ivan the Terrible. Ivan which I with an orchestra under Siegfried
~ ~ ems to 1)C ~ pertion of lii; name Wagner in New weeks ago ~,OODHEW ~
by which the hero is known, is a' ' 1 evoked, storms ~f applause. Without ~ ~ ~A T
00.
simple. *kind. religious soul, and I personal beauty or marked ability as if ~ L ~4~
uch ~agn'~,i'! a ixitnr~rr ta- Ve"efrrehe~cts himself into no ehd ~. .,..~. v..~,,..., an actress, Madame Schumann-fleink -'~ E.Libe~tA.J ~t' -'b-'.
'139J ~
~p~gt t(I is gen3rally re~- !e given on FTI~;r:?~a~ also ~ >..::..j has risen to the top of li~r profe-s- Phone
S..* ...,. *.w ...j, by
gai'ded as one of the greatest of a da~' afternoon. ~&.v:> -......:o:..o:.:.-:<::: sion the sheed of her
..................................., .......-. .. . -. :0-
...............................I voice, the perfection of her art and
long line of Amn crises. '1 hough she "The Brothers Karamazoff," a dra- A the charm of her personality.
has appeared in Madame Butterfly. n5atization of the novel by Fyodor with Mine. Galli-Curi in "LaSonnam -___________________________________________ ________________
Cavaleria Rusticanna, in Rigoletto, Destoievsly will he presented on hula," the same opera in which they _____________________________________________________
Marta, and othcr~, her greatest suc- Wednesday night only. Unrequited had appeared together in Milan in'
cess has come in the concert field, love, and family dissentions on re- 1913. Subsequent appearances have
There her charming personality, her higion and art make up the theme of increased his popularity, and the past
rare gifts as a singer,, the dramatic this play. - season marked his first extensive con-
force of her interpretation, and her, We all know that "actions speak cert tour in this country.
deep understanding of' the intellectual louder than words." Though the He was born in the inconspicuous
import of her song, is e(luallCd only names of these artists are odd, and town of Lesse in the-ki4~dom of Italy; - . . . .
by the sensitive beauty, the richness,1 they utter strange Russian sounds and his youth was a st~i~ggle between~* - , ~ I............... , .
and coloring of her lovely tone which mean nothing to us, their act- the music within him ~ his mother's'
quality ing i~ more eloquent than words desire to make a ~ iest~f him. When
he was ten, he "fil d' in the choru~ ~' ,~ ~..
of "Carmen"; at fo~rt ~n he used t , ,,~ ,,
7'~4e Cai~ipus Ai'zd The Theatre steal out the win~ V the seminar j ,'K ;;,
at night, an(l att d ~ opera or
IL- Ma~ ~es ~iiid Co~ne~y- (i~ub, by productions are unusual in the atten-r concert. Finally - s allowed t
Valei4t~e - )~avies. ' tion t9 de~fl~ and ~yari~ty of effect. study music, and l~s ' rk was don
first under the ~4~a
o ,~noi~eor less I tie ab~ay his,: and e of Maesti~Q
The rodwetii~n~ ~lasig'~ '~ts I Gerunda, and then- u Emihio Pi~
serious 'afia~ a lavge~scale oit the 1~p~t~re~ -n effort in se~ tl~t, ti'iey coli of Milan. Sc1~ pa de his debut
campus ~e~nt, a e under tlt~ ~d- ~ ~'' ~, d ou~ fi~ sucl~4 ~ <'t~iat in "Traviata." H.e ia~ ung in man
ing hand ~6 Prof, J. I~aleigh Nelson,
the ~j~e~' annual presentation ~ j 14~e ~'n~ pi4ur& l's as - ~ '~is cities and many' c&' tries, but i
Hill A~to-~lnin, 'and the~ ~5onie4~yI orig~d conc4~tion as ~. Spain and in Son ' A erica he h~
club's j~y~ at ~he ~Whit~iey theatre His best testiIt~ 'hi~,ve ~-con~1 ~ ~b ~been hailed mo~ ~ rnsiastically'
- had ~tlie ~
both b~ing~ iznder ~ .: has "The I~nigb$ - 1' - hat is, until he ca e ~ America. No - ,.
direction. tie~ to.face ~ it seems the country t~ould never hEft
The~ prod et~ona have alw~y~ ~ Pestle ' 4~n.e 'w~th -Masques, im 1q22, him go back for a se~~ in his own4
marke~ ~y '~ finish- a~nd a perfection of cafled f9r & l~ab~tliJan I Italy. -~
detail th~i i~ ~uhl~ remarkaNe ~'-O~e th~atr~ en-' t~e -~'ge ~ tI -Au~i<t6r- I
is t ~ted' to ~ professk~l, bi~ ~ ~~~re: it w~' ioiw~ o~ @ive' Brought up in a }anA of bel canto
Prof~ssor-Nelsbm's ~aIms are decidedly I a single. n~iI 1n~o"'tWe. '~6~r, ' trained in the ~io~ere of pure. ( '~""~i'~.~a
Q mimic professional, pro4~c- I will long he reni~enibe~a~ z~ en~ of'~
Rm~i; but. ri4her to achievp a per- ~he most that Masqnes has I lyric song, any' oth~ style woul4
fortuance that is distinctly aip'ateur ever PVetur~sqV,~ seem foreign to hin~.. B~t with his in-<'
done, a complete Elizabethian I herent ability to adjust ~rtistic values,.
in its freshness r~nd spontaneity and theatre was built and the boxes were he is able, as few lyric concert artists
yet of real artistic worth, free from actually occupied by a number of are, to appear with equal lustre in
the usual crudities of amateur efforts. 'spectators, in the costumes of the opera. Singers able to encompass I
To this end he has adopted certain time. both spheres are rare. To him, beau-
very different policies in regard to _________________________________________________________________________________ (
his performances . In the first place,' - ~
he refuses to do anything but come - I ' ~,

I-Think is doubtless the greatest of liv- for he feels that amateurs of the age I
ing contraltos but Erijestine is get- .and tra1ining of the average coll
ting old, and the world is alreadyjactor are not capable of doing jus-' -
casting about for her s~icceasor, ~ fit- tice to plays which call for deep emo-
ting contral'~6 to wear- the crowns of tional acting. The play that is pre-
-! while; such authors as Barrie, Shaw the BOOI~
Alboni and ~cJialchi. - sented, however, is always worth
Perha~i ~the most deaerving is and Mime, have been chosen in the OIr~4 THI
Sophie Br'LsJa -' one of the greatest of last few years.
the new ~ei~ration of singers. Only Prcfessor Nelson I as a keen artistic STO
thirty-twQ yea~'s old, she has been be- sense which is shown in both his
fore the p't~i~Ii~- for the past twelve choice of plays and his manner of pre-
years. MaWln'g her debut as "Prince sentation. Every detail of action and
Feodor" in. Mous~orgsky's opera, bu.~iness, every tone of the voiceJ
"l3oris ~qundonoff" at the Metropoli- I carefully studied and clearly und
tan in 1913, l~r art has grown and de- stood by every member of the cast.
veloped lo a-~ harmonious whole. it Perhaps his most unusual ability how-s
has been like-W~d- to that of Chaliapine, I ever is his remarkable sense ~f tempo.
Ruffo, and .of the lovely Bori. Like1 Not a single moment in any of his ~ WAI
ti~em she do~s not merely sing beauti- productions has been criticized for
fully, but her voice gives every deli- dragging, and yet many times he UNIVE
cate shade of emotion and poetic achieves his greatest effects by reduc- I
ling the pace of a scene. He posseses!
value. With her voice alone she can BOOK
paint the emotions and dreams of the an uncanny ability in timing climaxes I
composer, shaded in opulent color and 'curtain lines which', while it is
even as the painter spreads his rick hardly noticeable to the audience,
coloring on the canvas. - makes them many times more effect-
Miss Braslan was born ~n New York I
city and at first studied pI~noforte un- I Scenically, Professor Nelson's
der Alexander Lambert, but '
ing a voice of natural beauty and~
warmth, she studied under Signor
I~uzzi-Peccit~ and Signor Gabrielle
Sibilla, completing her training under, i~*~
these mastery. As it 'Is tod~y,-hers is'
the ideal of ~ true contralto voice. -Ai
range o~ three complete oet~ye~, she See Our Artistic
sings the high C in Verdi's "11 Tro-
vatore,' avid reached with ease the'
low D "In Schubert's "Tod und das -' in0im~rinrV on geni~
Madehen," and her voice throughout - -'
is rich and warm, a voice of opulence
and tenderness, a tone of brilliant col-1 It Costs No More
oring and sensuous sweetness. Her
voice is not heavy as is that of most
contraltos, but is so light as to en-' -
able her to undertake the brilliant, -
florid ornamentation of aria with the
ease of a coloratura. She has master- - -

S REVIEWED
[SPAGE -~
PAT ' -'
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