The Edison phonograph monthly (Jan-Dec 1916)

EDISON PHONOGRAPH MONTHLY, DECEMBER, 1916 11 Keeping in Touch with Edison Artists "There is a little lady, to whom I believe I have referred once before, who, starting with a good voice, what is called 'temperament' and an indomitable will, determined to get to the front," says Mephisto in Musical America. "Lacking at the time the necessary means, she became her own manager. Whenever she had any money she spent it on publicity, and so she became an assured success, a recognized leading feature of our concert stage. Now, of course, she is sought by managers who are glad to handle her business. "This little lady, whose name is Christine Miller, gave a recital the other day, in the course of which she presented a number of songs by American composers and scored a most emphatic success. She presented these works, not because they were by Americans, but because of their intrinsic merit, which was recognized by most of her critics in their reviews of the performance." All of which, coming from the source that it does, is a decided tribute to the voice and personality of Miss Miller and also to her laudable patriotism in programing numbers by American composers. About a year ago at the Opera Dance Club in Chicago Anna Case lost a diamond pin of an intrinsic value of $1,200. Its sentimental value exceeded that because it had been given her by her admirers at the Metropolitan Opera House in New York. Recently Hiram Foster, the Chicago manager of the Club, pulled down an old velour drapery and exposed the missing pin, which, in some fashion, had been lost in one of the folds of the hanging. The pin was immediately sent to Miss Case, who was overjoyed to receive it after having given up all hope of ever finding it again. Yvonne de Treville is one of those rare and fortunate persons who have what might be termed an "embarrassment of artistic talents." At the outset of her career she took up the study of painting and became an artist of unusual ability. Believing, however, that her voice afforded her even greater opportunities than her talent for painting, she commenced the study of singing and abandoned her other artistic endeavors. Her early training in art, however, stands her in good stead in the costume recitals in which she is so successful. In her gowns and poses there always is apparent that delightful harmony of line and color that only a true and educated artist could secure. Albert Spalding, who gave his first New York recital of the present season in Aeolian Hall on October 28, is an enthusiastic advocate of the use of the folk-song in the recitalist's repertoire, and he declares that America has a wealth of such songs that are as fine as any that can be found. He believes that folk-songs should be judged by their merit when unsupported by an accompaniment. "A tune whose outline is not strong enough to stand without props has no right to be counted as a folk-song," is his dictum. The Ellis Grand Opera Company, with which Marie Rappold recently has been touring, appeared in St. Paul late in October. According to the Musical Monitor the audiences that were present at performances of "Carmen" and "II Trovatore," given by the company, were the largest and most brilliant ever present at a musical event in Minnesota. People came from as far as 300 miles away to attend the performances and the advance sale of tickets was unprecedented. Mme. Rappold sang Leonora, her favorite role, in the performance of "II Trovatore." Last season Marie Kaiser made over 100 appearances in sixty-eight American cities and fifteen states and this year all indications seem to show that she will excel her last year's record. She commenced this season's work early in August and her only respite until Spring will be a few days around the holidays. Her numerous bookings are a high tribute to her ability and popularity as an artist of the first rank. Merle Alcock, the contralto, with her husband, Bechtel Alcock, the tenor, gave a most successful recital recently in the Gr^nd Avenue Temple, Kansas City. Julia Heinrich, whose brilliant success in various roles was one of the features of the last season of the Metropolitan Opera Company, will not return to secure further triumphs on the operatic stage. The death of her noted father, the late Max Heinrich, and her desire to enter the broader field of concert singing, combined to cause her to abandon opera. The decision of the "find of the 1915-16 Metropolitan season" has aroused much regret among the patrons of the Metropolitan Opera House, all of whom have looked forward with anticipation to hearing her during the present season. Among her concert engagements are appearances in Boston, Cleveland and Philadelphia.