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March 09, 1941 - Image 12

Resource type:
Text
Publication:
The Michigan Daily, 1941-03-09

Disclaimer: Computer generated plain text may have errors. Read more about this.

IT 11 E '-. MJCH I GA N'-,D AJ LY

AT,

Till: MI~HIGA~4 JiAILY Z~uE~AY, M.~i1~CR 9. 1941

Norm Cordon
Was Revealed
In Glee Club1
Bass-Baritone Sang First
In University Of North
Carolina Ensemble
Although operatic artists are not
usually associated with mint julepsr
or "Dixie", Norman Cordon, one of1
the Metropolitan Opera Association'ss
leading bassos, was born in Washing-
ton, North Carolina.
Mr. Cordon's bass-baritone was first
revealed in the Carolina Glee Club of
the University of North Carolina.i
After continuing his studies at Salem
College, he came to New York, and1
sang for a season in the Shubert pro-
duction of "Love Song". But he rea-
lized his need for further training,;
and he spent four years in the Nash-"
ville Conservatory of Music before in-
vading the North again in 1930. This
time he sang over the air waves,1
and seemed slated for a long career
in toothpaste and breakfast cereals.
But one night Mr. Cordon, after be-
ing dragged to a party, sat down at
the piano to sing some spirituals.
Nobody laughed, and one member of
his audience introduced him to Gia-
como Spadoni of the Chicago Opera
Association. Mr. Cordon first sang
opera in 1933, and earned a regular
engagement with the Chicago Grand
Opera Company.
Since then he has been reading
rave notices for his work in opera and
on the air. He has appeared with
the Detroit Civic Opera, the Philadel-
phia Grand Opera Company, New
York's Hippodrome Opera Company,
the St. Louis Opera, and the Canad-
ian Grand Opera Association, and has
taken part in nearly 1200 broadcasts.
His New York debut in 1936 was so
successful that the Metropolitan sign-
ed him to a two year contract for the
regular season.'
Mr. Cordon's constant study has
gained him a large repertoire of con-
cert songs and arias. He has recently
sung with the Cincinnati Symphony
Orchestra, and with the Boston Sym-
phony Orchestra at the Berkshire
festival in Lenox, Massachusetts. j
Like a growing number of his con-
temporaries in operatic circles he has
never sung in Europe. He gives a
typically American reason for his
failure to cross the Atlantic. "Some
day," he admits, "I'd like to go over
there and sing. But that will have
to wat-until I have time."
Pianist Iturbi Was Born
Into Music-Mother Iturbi
Jose Iturbi's mother has her own
explanation of her artist-son's amaz-
ing talents in music.
The story is told that Senora Iturbi
attended a performance of "Carmen"
in Valencia despite the fact that her!
baby was expected any minute.
In Spain, performances usually be-
gin about ten o'clock. It was almost
midnight, in the second act during
the Toreador Song, that Senora Itur-
bi was seized with pain. Papa Itur-
bi rushed her home and little Jose
was born just about when the smug-
glers' scene of the third act began
at the opera house!

/Iet Tenor Kullman Was Persuaded
To Trade Surgery For Music Gareer

Enid Szantho, Noted Contralto,t
Owes Eairly Tra ining To Mother

The story of Charles Kiiman iis
a tale of an American in the epic
of modern music. It is a story of
which Americans can be proud.
Born in New Haven, Conn., of
German parentage shortly after the
turn of the 20th century, this new-
comer to the May Festival scene has
the dual advantage of a New England
boyhood and a continental back-
ground. He attended the local public
schools, sang in the church choir,
graduated from nearby Yale and
launched into study abroad in 1924.
He originally planned a medical?
career, but success as a soloist with
the Yale Glee Club, brought him to
the attention of various musical ex-
perts. They persuaded him, despite
parental objections, to abandon sur-
gery for singing.
He applied for, and won, a scholar-:
ship at the Julliard School in New
York where he studied for three years.
Then he won a fellowship to thef
American Conservatory in Fontaine-
bleau, near Paris. After a short per-{
iod of study, he returned to New
England and accepted a position on
the music faculty of Smith College.
He took part in the production of{
several old operas at the school and
his performances once again broughti
the attention of New York and Bos-'
ton critics. They convinced him that
he should resign his position, and in
1930 he joined the American Opera
Company.
Modern Americanism played an im-
portant part in his first steps to-
ward success. At the time, Vladimir
Rosing began experimenting in or-

ganiaijon 1to give iusie-ti-ama "i
English. Kuilman scored in such roles
as Faust, Don Jose, and Pinkerton
as well as in the premier of Clarence1
Loomis' "Yolanda of Cyprus".
The next fall he went to Europe,1
made his debut in Berlin at the Kroll
Opera, and later apeared in two state1
opera houses in "Butterfly". He en-
joyed great popularity in Germany.1
"Butterfly" was presented 25 times#
in one season, for instance. He ap-
peared with the outstanding con-+
ductors of the period.+
After Berlin came a period of sim-
ilar successes at Vienna. In 1934 he
Singing of National
Anthem Wins, Joh
When Charles Kullman, then a1
striving young tenor who had given,
up a career in surgery for music only'
a few years previously, first appeareda
for an audition before Otto Klemp-
erer in Berlin, ,he had been in Ger-
many just two months and was not
solidly grounded in the language.
Klemperer was looking for a tenor
for "Butterfly." The American was
lost -until he sang the introductory
fragment of "The Star Spangled Ban-+
ner", Pinkerton's song of praise of the1
Yankee who goes all over the world.
Kullman's ringing voice brought the
best out of each language and Klemp-
erer heard all that was necessary.
Kullman learned the introductory;
part and made his debut at the Kroll
Opera on Feb. 24, 1931.

became a ieuluai membe of tle
Vienna Opera Company. Then he
was recognized by the Salzburg Fes-1
tival, international center of the mu-
sical and fashionable world. He sang,
there three successive summers -.
1934, 1935 and 1936. In 1937 a con-
tract with a Hollywood movie firm
prevented his return and the privi-
lege of appearing under Arturo Tos-
canini.
Kullman sang for the first time ,
under the Maestro in the Verdi Re-
quiem, a special performance given,
in November,. 1934, in Vienna, dedi-
cated to the memory of the slain
Chancellor Dollfuss.
In the summer of 1936 he was;
chosen by Toscanini to sing the young
hero Walther von Stolzing in "Mei-
stersinger" in Salzburg.
December 20, 1935, probably was
the most exciting day of the Kullman
career. It marked his debut at the
Metropolitan Opera House in the title
role of "Faust". 1,765 residents of his"
native New Haven came en masse to
the Metropolitan, arriving in New
York on special cars-the "Charles
Kullman Opera Special".
Only in America could a success
story be marked by such an incident.
Kullman rose to the occasion. His
masterful handling of the role
brought tumultous applause from his
vast audience and the following day
reviewers and critics heralded the
performance with columns of com-
pliments. In the next few weeks he
showed to American audiences the
dramatic and musical versitality
which won his continental listeners.

tr5-1T {"1 of it- (If UpCd .5-
socialloit) , M It c 1roli a wi't?3iii Ml
liance of Ireland and Hungary. Her
mother, who was born in Sligo, Eire,
was responsible for her earliest mu-
sical training and her fluent knowl-
ledge of English.
Miss Szantho first studied voice at
the Royal Academy of Music and Dra-
matic Arts at her native Budapest.
It was here that Franz Schalk dis-
covered her and immediately offered
her an engagement with his renown-
ed Vienna State Opera. She had only
been two years with this company be-
fore Siegfried Wagner brought her to
Bayreuth where she sang for five
seasons.
Miss Szantho came to America in
1935 at a request to sing with the
New York Philharmonic Symphony
Orchestra. Glowing reviews resulted
in important engagements all over
the country, including her appear-
ance before President and Mrs. Roose-
velt in a musicale after the Diplo-
matic Dinner at the White House.

.a_ :Szanto retuiil.d to Amercna
the following season and scored iher
'1t tiitunph in the role of Cly-
temnaestra in - the New York Phil-
harmonic Symphony's performance
of Strauss' "Elektra". This concert
earned her a contract with the Metro-
politan Opera Assocation for the fol-
lowing season. In 1938 she made her
Metropolitan debut as a leading con-
tralto in the role of Frick in "Die
Walkuere". 1941 marks her third
season with this organization.
Miss Szantho has appeared in re-
citals throughout North America. She
has sung in Edmonton, Winnipeg,
Chicago, Philadelphia, and even Puer-
to Rico during her tours of this side
of the Atlantic.
Her linguistic talents allow her to
sing oratorios in the original lang-
uage, and she particularly enjoys
singing with the great conductors.
Richard Strauss, Franz Schalk, Ar-
turo Toscanini, Eugene Ormandy and
Leopold Stokowski are some of the
maestros who have conducted at her
concerts.

Carilloneur Price
To Play Before
Lending off-stage at,, osPihie 14)
the May Festival evenings will be
Percival Price, University carillonneur
who will present short programs each
evening preceding the concerts from
the Charles Baird Carillon Tower.
One of the oustanding carillonneurs
in the musical world, Mr. Price re-
ceived his musical training in Canada
and Europe. In 1927 he obtained the
diploma of the Mechlin Carillon
School and was the first carillonneur
from outside of Europe to be accorded
this distinction.
Before coming to Michigan, Frank
Percival Price was carillonneur at
the Massey Carillon in Toronto; at
the Rockefeller Memorial in New
York and at the Peace Tower in Otta-
wa, where he played for the Canadian
government.
Beginning Sunday, March 23, Mr.
Price will play formal carillon pro-
grams each Sunday evening at 9 p.m.-
and each Wednesday evening at 7:30
p.m.

I

I

11

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It

LAWRENCE
TIBBET

i

SIXTH

MAY

FESTIVAL

CONCERT

'MACK IARRELt
Famous Fimerican Baritone

'
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J.afl-otti.jIAmerican 2aritone

woo Ma ei

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Otlap' N//uic (/aica an ICiamica/ %/6c Popular
This great singer continues to be America's beloved interpreter of
the rapture and beauty in song ... intuitively communicating to people
the inspiration they are seeking. "Lawrence Tibbett is one of the most
amazing musical phenomena of our time" wrote a leading newspaper
about him not long ago. And indeed this native son of California
is just that.

MACK HIARRELL, one of the outstanding young stars of the
Metropolitan Opera Association, is new to the May Festival.
Widely acclaimed in both Europe and this country his voice
has been hailed as one of the outstanding American contribu-
tions to musical art. He will appear Saturday evening, May 10.

,lirt Concert:
VMAY.

We c1nejc3la y

veninq,

rn6V

7tM

HILL

AUDITORIUM

F ESIY

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The University Musical Society presents the forty-eighth annual May Festival, to be held
May 7-10. For almost fifty years the May Festivals have presented the outstanding Music
Personalities, and this year have again attained the same high standards.
Soloists:

Lawrence Tibbett ... . . Baritone

Jose Iturbi... . .... . .... Pianist
Dorothy Maynor........Soprano

CHORAL WORKS

Jarmila

Novotna. .". . ... . Soprano

Norman Cordon ...........Bass

ORGANIZATIONS

Gregor Piatigorsky
Suzanne Sten ....

.... Violoncello
. Mezzo-Soprano

Jascha Heifetz . .
Enid Szantho.....
Charles Kullman.

.......Violinist
..Contralto
....... Tenor

Mack Harrell ........Baritone

The Philadelphia Orchestra
The University Choral Union
The Youth Chorus

"ALLELUIA"
Thompson
"EUGENE ONEGIN"
Tschaikowsky
"REQUIEM"
Brahms

Prices:
SEASON TICKETS: (Six Concerts) MAY FESTIVAL COUPONS from INDIVIDUAL CONCERT TICKETS
may be ordered at the offices of the Uni- Season Choral Union Tickets entitles orig- will be taken from the unsold season
versity Musical Society, Burton Memorial inal holders to price reductions to $3.00, tickets and will be offered'over the coun-
Tower. Prices are $6.00, $7.00 and $8.00. $4.00, and $5.00. ter" later for $1.00, $1.50, $2.00, $2.50.
.. .- mIu m . . - * - |

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