Variety (December 1954)

76 CONCERT-OPERA , P^SfilEfY Wednesday; December 1, 1954 Plans for an International MusiO & Theatre Festival in Greece next fall are simmering, with a decision on budget, scope and schedule to be made at Xmas time. Dino Yan- nopoulos, Met Opera stage director who has been asked by the Greek government to head the project, as artistic director, is busy With his opera chores in N. Y, - “Manon,” bowing for the sea- son at the Met next Friday (3), will mark the fourth production Yari- nopoulos has staged there in the three weeks since spot opened. Oth- ers Were “Meistersinger” and “Andre Chenier,” both of which got hit notices,. and “Aida.”, Di- rector. 'ill put on 10 Met operas In all this season (out of 26 ; skedded), more than any other stager, for his: busiest sked there so far. Athens-born director, who put on straight plays before and dur- ing the last war in Greece, is also angling to stage a Broadway musi- cal next spring, for. his first, fling in U. S; legit. He’d prefer doing a straight play. Legit staging gives him more opportunities than operai, he says. The Greek fest, which Yart- nopoulos broached to the Ministry of Education on his recent visit to Athens, will take place next Sep- tember for. a month in three am cieiit outdoor theatres, at Delphi, Athens and Epidarus. Mi istry okayed it as a tourist attraction? as well as a showcase and boost for Greek • talent, both overseas and at home. Local talent would get a lift, performing for international tourists. Three-City Rotation Project, according to Yannopou- los; will embrace three operas, two Greek tragedies,, one Shakespear-. ean play, symphonic and chamber music concerts. The events will ro- tate at the three theatres involved. Gluck’s “Orfeo” and Mozart’s “Cosi fan Tutte” -are two of the probable operas. Director has been authorized to line up Greek talent abroad for the project, to assist local organiza- tions, There are a great many Greek singers, for instance, work- ing in Italy and Germany. There are several names in the U. S., such as the N. Y. .Philharmonic maestro, Dimitri Mitropoulos, and Met opera singers Elena Nikolaidi, Nicolo Moscona and Vilma Gior- giou. All are expected to partici-; pate. 'Such local groups as the Katina. Paxinou-Alexis Minoitis drama trbupe will be utilized: Yannopoulos was in Athens last September due to a government bid to become director of the Greek National Opera. He turned the offer down because of his Met commitments and his desire -to stay in N. Y. with his wife and son. Wife is legit actress Meg Mundy, daughter of John Mundy, Met Opera orch manager. Yannopoulos has been with the Met nine sea- sons. Jean Erdman Set For Dance Tour of Orient Jean Erdman, modern dancer, has been set for a tour of the Orient. She leaves after an ap- pearance Dec. 18 in Frisco. . She'll dance Dec.: 29 in her native: Hono- lulu under sponsorship of the Com- munity Theatre, Other dates fol- low in Tokyo and other Jap cities and in New Delhi, Bombay and Calcutta. Miss Erdman will be back in N. Y. in the spring, resuming her post as head of the dance depart- |*merit of Bard College, Annandale- on-Hudson; N. Y. ‘ARCHY’ LITTLE OPERA SET FOR N.Y. BOW DEC. 6 Thomas Scherman arid the Little Orchestra Society will present the preem of George Kleinsinger and. Joe Darion’s little opera, “Archy and Mehitabel,” based on stories of Don Marquis, at Town Hall; N. Y-. next Monday (6). Archy will be sung by Jonathan Anderson, tenor; Mehitabel by Mignon Dunn, soprano; Bill by Richard Sharretts, baritone,, arid the Back-Alley Chorus. by tlie Four Heathertones, Bix Brent, Mari-, anne McCormick, Nancy Swain Overtone and Jean Swain. Klein- singer will act as narrator. The opera will be directed by Max Lea- vitt; . Same program will present Ibert’s Concertino de Camera for alto saxophone arid 11 instruments, ‘ with Vincent Abato as sax soloist, and Reger’s Variations and Fugue on a Theme by Mozart, Op. 132. Kirsten Back at Met After a. season’s absence, due to the death Of her husband, Dorothy Kirsten returns to the Metropolitan Opera tonight (Wed.) to sing the title role In ‘‘.Madame Butterfly.’’ It’s a sudden booking, Miss Kirsten appearing in place of Lisa .Della Casa, who is ill* Ballets, Espagnols: wound up a four-week run at the Mark Hell- inger, N. Y-, Sunday night (28), and set off, promptly for its first U. S. tour. Troupe, in its N. Y. bow, garnered $14,600 its first week; $14,000 the next, $15,000 the third, arid $18,500 in. its final stanza, for ari overall $62,100 take. For its appearances oh Ed Sulli- van’s “Toast of the Town” tv’er Nov. 21,. troupe garnered $6,000 more. With weekly nut around $19,000, Espagnols left N. Y; ith a loss. Boxoffice was a little sur- prising, in view of universally sock notices it got, but the troupe Was corhpletely Unknown to N. Y. and -perhaps stayed a week too long. However, it’s due back next , sea- son. * Under the management of Jules Borkon and Michaux Moody, with David Libidi booking, troupe opened a four-month tour in Philly Monday with two night dates. Trek, Which ends March 12, includes a week in Boston, opening Dec. 13, Xmas week in Toronto, a full week in St. Louis and three Weeks in Chicago. Libidins is also dicker- ing with Las Vegas niteries .fbr a late-March date there. On Sunday (5), troupe is being flown from N. Y. to D. C,, after a Plainfield, N, J., date, to perform at the Spanish Embassy for a dip- lomatic corps reception given by the new Spanish Ambassador to the U. S., Comte de Motrico. Em- bassy will then fly the group to Cincy on Mpnday for its date there. Schang Defends CAM In Its Community Dealings; French Has New Setup Annual conference of Commu- nity Concerts field staffers. opened in N; Y, Monday (28), with the air still filled with late detonations from the Ward French squabble. French and Robert Ferguson were ousted recently as prez and veepee, respectively; of Community, by other directors of the Columbia Artists Mgt: subsid, in i policy split Over whether Community should divorce itself completely from Columbia. Frerich pitched for divorcement to offset any Gov- ernment antitrust action. Frederick C. Scharig Jr., CAM prez and Community board chair- man, defended management at the Conference against newspaper charges by French that CAM had been using Community, for* selfish ends as outlet for CAM artists, pointing out that Community could always buy artists anywhere. Schang also did the unusual thing of quoting from an article he had written for the. Anniversary Issue of Variety Jan. 5, 1949, to disavow other French claims by showing that CAM management had always been on record as appreciative of and interested in Community.. Schang also reminded the con- ference that Community was estab- lished by CAM, 26 years ago,: in 1928, and that French had not joined till 1931. Regarding Gov- ernment antitrust action, Schang said: "If we are in any predica- ment regarding, the antitrust divi- sion, such predicament is based largely on a file of letters between French and his former western manager, the late Arthur Wisrier, who before his deaith turned over to the Government his confiden- tial correspondence With his su- perior: Neither the Community nor Columbia boards of directors, nor its counsel,.fiave knowledge of what this, correspondence might contain,” Schang also claimed that French and; Ferguson, while working for Community the past year, were al- ready mapping a new business set- up of their own. This reference is to the International Concert Service, which French and Fergu- son set up last week in N. Y. Meantime, 70 artists under CAM management, including top names like Lily Pons, Rise Stevens and Rudolf Serkin, sent a wire to local heads in the 900 cities in the Com- munity fold, reaffirming-tlieir faith in CAM and Community. . French and Ferguson disclosed over the weekend their intentions to sue Community for monies due them On balance of their contracts, which had three years to go. Beethoven: Quartets, Op. 18 (An- gel). The six early quartets of opus 18, rich, tunefuL and eloquent de- j spite their youth, played here by a superior group in the Hungarian Quartet. Fine balances and facile musicianship are marked, as in the lovely tone of the first violin. Franck: Symphony in . D Minor & Le Chasseur Maudit (Westmin- ster). . Little-known symphonic nar- rative poem (Chasseur) is along similar rugged melodic lines of the w.k. symphony, and both get virile readings from the Vienna State Opera orch under Rodzinski. . Beethoven: Symphonies No. 4 & 8 (Vox). Vienna State Philhar- monia, under Perlea, is at times a little deliberately-paced for the light, No. 4, but otherwise fine. The NO. 8 is better-paced, in a sprightly reading, lyrical and sus- tained. Shostakovich: Symphony No. 10 (Columbia). Recently - preemed symph holds up on rehearing ini disk form. Sprawling, diffuse work is strong, at times, dubious at others, but generally engaging arid moving. Excellent recording by the N. Y. Philharmonic under Mit- ropoulos. Tchaikovsky: Violin, Concerto (Decca), Russ fiddler David Ois- trakh in a firstrate job here, with tremendous technique arid a rich, lustrous tone, though latter is sometimes ov.ersentirnental. Third riiovement, too, is top deliberately- paced. Otherwise, a satisfying ver- sion, Saxon State orch under KOn- witschny assists well. Virtuosi Di Roma (RCA Victor). Gifted string ertseinhle in three, very appealing early Italian Works, especially a tuneful, spacious Sym- phony in D by dementi. The Vi- valdi Concerto in F is warmly mel- odic and the Corelli Concerto Grosso in D is also choice, Stravinsky: Rite of Spring (RCA Victor). Expressive, colorful read- ing, of the surging, rhythmic work by the Philharmonia under Marke- vitch. Artistic as well as bouncy performance. Brahms: Violin Concerto (Angel). Johanna Martzy, young Hungarian fiddler, brings a sure, sweet tone, ample technique and sensitive mu- sicianship to the familiar work. The Philharmpnia under Kletzki helps in a lyric interpretation. Bar.tok: Two Portraits & Diver- timento for Strings (Decca). The Divertimento, surprisingly conven- tional In pattern and tunes, ' a gay, bubbling affair., and one of Bartok’s most ingratiating works. The Portraits, one. placid, the other brisk and dancelike, are also attrac- tive. Both are well played by the RIAS Symph under Fricsay. Haydn: Trumpet Concerto in E Fiat & Harpsichord Concerto in D (Vanguard). Trumpeter George Eskdale shines in the first, a dra- matic brilliant work of symphonic quality. Erna Heiller is gifted so-, loist in the second, a gay, lively though elaborate Opus. Vienna State Opera orch under Litschauer supports in both. Fine disk. c Verdi: Arias (Capitol). Robert Weede shows to excellent advan- tage" in these arias from a half- dozen staple Verdi operas. A rich, high, clear baritone, devoid of Italianate vocal mannerisms, ap- peals^ifl variety of airs. Espe- cially choice are the,“Eri tu” from “Masked: Bal’” and “Di Provenza il Mar” from ‘Traviata.” Broil. Five N. Y. City Ballet dancers are choreographing their first bal- lets for the company. They are Jacques D'Amboise, Francisco Mon- cion,-* Herbert Bliss, Barbara Milberg and Sean O’Brian. Ruth Sobotka, formerly with the company, and Joseph Francis Varchesia, a member of the -School of American Ballet, are also trying their hand at new works. Works will be offered at the N. Y. City Center during the February season, if satisfactory. Toscanini May Launch ‘Little Scala’ Season . Milan, Nov. 23. Although riot been officially, an- nounced, it's probable that Maestro Arturo Toscani ‘ currently rest- ing the summer on his lake-island home, will inaugurate the “Little Scala,” smaller-scaled annex to the Milan Opera Showcase. This is currently being readied for an early spring opening. “Falstaff” is the probable opening selection at the “Little Scala,” with the staging in the hands of Luchino Visconti. The Scala meanwhile has called Maestro .Victor De Sabata to head the artistic direction of the. thea- tre.. . De Sabata has accepted, and. is due to arrive in Milan shortly to take over; Chicago,. Nov.. 30. Although ending up With the tra- ditional longhair deficit, the initial season of the' newiy-formed Chi- cago Lyric Theatre was generally rated a strong critical and financial success. Opera cornpany’s just- completed schedule^of 16 perform- ances at the Civic Opera House grossed $217,500 out of a maximum potential of $260,000. Exact amouiit of the deficit has yet to be. tallied, but it’s figured to be relatively small,, and re- sponse to the first program has set the group to laying plans for a longer Season next year. A five- Week local season is planned in ’55- First order of business, mean- while, for Carol Fox, founder and prexy-general manager, and Law- rence V. Kelly, managing director, will be a fund drive to raise $250,-: 000 as a basis for permanent capi- ta lizatiori: Lyric Theatre garnered nation- wide publicity, with big spreads in the . weekly mags, mainly through the sock, impression mad6 by Maria Callas, Brooklyn-born‘ , but Italian-trained soprano, who made her U. S. debut here, Critics came from N. Y. and iqore distant spots to see and hear her “Norma,” and weren't disappointed. The N. Y. Met had the singer signed for '52- ,’53, at a $600-per-performance fee, but domestic problems prevented her coming. She’s reported to have received over $2,000 per perform- ance for. her Chicago appearances,' a figure the Met (with its $1,000 top) can’t pay. v» - -- ; i — - . - . Asks for Benefit Shows To Aid Symphony of Air New York. Editor. Variety: I want the entertainment world to give benefit shows to keep the Symphony of the Air (former NBC Symphony) going. The worst mistake the Radio Corp, pf America ever made was to drop the NBC Symphony. The retirement of Arturo Toscanini was no excuse. It should have been f he cause for its continuance. These musicians supremely affirmed the human -spirit. They .gave life, in a world of death, with their power of perfect art. Because of this fact I want the theatre, to keep the Symphony of the Air going. There was a kind of statesmanship in the program it gave recently in the General As- sembly hall of the United Nations., The thiatre may justly glory in this brand of statesmanship, its own. In this way, some day, all blinds on both sides of the Iron. Curtain will be pulled up, to open the door to brotherhood and peace. Frank Colapinto. t- , Andre Kostelanetz picked up where he left off . last season— when he introduced his series of special Saturday night symphonic concerts aimed at younger audL erices—by playing, with the N. Y. Philharmonic to. another sellout house at Carnegie Hall, N. Y., last Saturday night (27). First of - this season’s three-concert series drew an overflow of. 100 standees (the hall’s limit) arid a. $6,200-plus b.o. take. Concert again provided the un- usual ionghair scene of a sym- phonic audience consisting mainly of people in their* teens and 20’s— an excited, exciting crowd avid for good music, a young, non-Philhar- monic-type group that Kosty is as- suredly wooing to the classics, (Un- like. regular concert audiences, too, many of them came late). What they heard was a fine. pro* gram carefully planned, excellent-. ly played—and enthusiastically re- ceived. Reception brought another symph innovation, encores. Not one, but five of them,, all worthy of. hearing. Regular program offered as chief dish a resplendent presen- tation of the lush Rimsky-Korsakov “Scheherazade” (not done by the Philharmonic in 22 years), the catchy Khachaturian “Masquerade” Suite, tlie flavorsome “Mississippi” Suite of Fei’de Grofe, Beethoven’s “Prometheus.” Overture and the first N. Y. performance of Toch’s “Circus” Overture, ari amusing; noisy trifle described by its title. Kosty. led a firstclass' band of musicians in sprightly though—* sharply sensitive readings of this pie int melange, showing an authoritative yet unobtrusive hand. Composer Grofe was present in a box to take several bows after his suite was played, and enthusiasm for the whole evening was so marked that a couple of ladies in the adjoining box leaned over boldly to kiss him. Bron. SEVERANCE PAY TO MET SOLOISTS FOR 1ST TIME Principal singers, stage directors and stage managers are covered for severance pay, for .the first time, in the new Met Opera con- tract with the American Guild of Musical Artists. Two*year pact gives solo artists with 13 years’ service a severance pay pf $200 a year. If a soloist has 20. years’ service and reaches retirement age (45 for femmes, 50 for men), he can collect severance in monthly installments. New pact also calls for payment on pre-season rehearsals; increased minimums for corps de ballet dancers ($82 weekly; $15 on a per performance basis); higher pay for choristers doing principal roles ($30 instead of $26); $65 rehearsal Week salary for chorus, and in- crease in number of artists receiv- ing $10-a-day allowance while com- pany is on tour. Contract provides for principals, ballet and chorus to work on open- ing night vidcasts (presumably closed circuit tv) in ’54-’55 and ’55-’56 . without extra payment above regular perfoTmarice fee. Chi Symph’s Reiner To Baton at Vienna Opera Fritz Reiner, musical director of the Chicago Symphony Orchestra, will conduct the first performance of Wagner’s “Die Meistersinger” to be given in the newly-restored Vienna Opera House next season. The. house, "destroyed during the war, has been completely rebuilt and is scheduled to be opened next November. Reiner is the only American con- ductor whb will take part in the. gala opening week. His cast will include Irmgard Seefried, Paul Schoeffler, Wolfgang Wiridgassen and Erich Kunz.