The talking machine world (Jan-Dec 1910)

40 THE TALKING MACHINE WORLD. Grafonolas, especially the library-table type, were in big demand. Cabinet Plant Burns. The plant of the Compartment Piling Cabinet Co., manufacturers of disc and cylinder record cabinets, 316-20 W. 29th street, was destroyed by fire Christmas Eve. Plans for resumption of business in another location are under way, and the company will probably be in a position to make shipments very shortly. Pointer for Dealers. The J. P. Seeburg Piano Co., 209 State street, manufacture a profit-making specialty which is especially adapted for talking machine dealers who wish to enlarge their field of operations. Cuts and full particulars will appear in their advertisement in the February issue of The World. In the meantime dealers who would like to investigate with a view of getting in on the ground floor are invited to communicate with the company at once. Personals. Arthur D. Geissler, general manager of the Talking Machine Co., has been very ill with a severe attack of inflammatory rheumatism, but-expeets to again appear at his office next week. L. C. Wiswell, manager of the talking machine department of Lyon & Healy, left this week for a week's visit to' the factories at Camden and Orange and to New York City. A. Grunwald, representing the Salter Mfg. Co., Chicago, makers of talking machine record cabinets and furniture specialties, left yesterday for the West, going as far as Salt Lake City. On his return fie will take in the Northwest, and from thence will visit the leading eastern centers. It has been an exceedingly prosperous year with the Salter Co., particularly in the cabinet department and some fine new styles will shortly make their appearance on the market. J. W. JONES INVENTS RCAD RECORD. Joseph W. Jones, who gained prominence in the talking machine trade through his connection with the invention of the disc record, and who is also responsible for the Jones speedometer for vehicles, has again come to the fore as the inventor of a new live map meter. The Jones live map meter is a sort of phonograph of the road. You insert the record of the trip you want to make, and the live map plays it. When you come to a cross road the map tells you, and the hand on the instrument points the way. Accordng to the Bureau of Manufactures the Chamber of Commerce in a large European city is very anxious to get in touch with manufacturers of phonographs for taking office dictation. In the type of machine desired a letter is dictated to a record, which is later placed on a phonograph operated by electricity and controlled by a pedal, thus enabling the typewriter to regulate the speed. Those desiring to make further inquiry should refer to file number 4,349. THIS IS THE FAMOUS WE WANT EVERY DEALER TO HANDLE THIS FAST SELLINC ARTICLE. Regular Discount to the Trade. Send for printed List of Jobbers who keep " TIZ-1T " in stock. If your Jobber does not handle this Connection yet we will supply you. Ons dozen lots, prepaid, S3. 60 Free sample to Jobbers Manufactured by KREILINC & COMPANY 1504 North 40th Avenue Cragin Station Chicago, III. SLEZAK'S TRIUMPHANT SUCCESS. The Great Viennese Tenor Adding to His Reputation with Every Appearance — Records of His Famous Arias Being Put on the Market by the National Phonograph Co. Not in many years has an operatic artist scored such a triumphant success as Leo Slezak, the great Vienese tenor, who has been heard in his magnificent interpretation of "Otello" in Verdi's opera of that title, and in a number of other well-known roles at the Metropolitan Opera House this season. Every appearance has been followed by the highest tributes from the critics of the New York papers who entol him as a LEO SLEZAK. great artist and remarkable man. In fact, he is proclaimed to be one of the greatest tenors of the day. It must be a matter of general interest and gratification to members of the talking machine trade that records of this famous artist have been put on the market by the National Phonograph Co., and which include all the songs in his American repertoire. At large expense the National Phonograph Co. made a special contract with Mr. Slezak by which these numbers will foe made exclusively for the Edison phonograph. The possession of a record of a voice such as Slezak's is indeed a source of extreme pleasure and lasting benefit, and it is safe to say that there will be a tremendous de mand lor these records wherever they are properly introduced, and the importance of the man emphasized. Readers of The World will be interested in the opinions of the critics of the local papers following the debut of Slezak in Verdi's great opera, "Otello." Here are a few criticisms from the leading papers which reflect the tenor of the entire press of New York on this occasion: From Hi-: Kew Yuri; Herald, — "Otello, revived at the Metropolitan Opera House after years of neglect and the advent of a new tenor, were the features that attracted a large audience last evening and aroused it to enthusiasm. The tenor is Leo Slezak, a Czech, who has won fame in Germany and London. He is a giant, being six feet four inches in height. And he is a giant artistically, too. His fame had preceded him, but his nervousness accompanied him. The latter was evident in the first act. Later, when lie threw aside the cloak of fear of singing in a strange auditorium before a strange audience, he made his listeners sit up and applaud and even cheer. His voice is tremendous in its dramatic moments, and when he employs it lyrically it i£ fresh and beaut if ul in quality. He has been compared to Tamagno, and bis voice has some of the brutal dramatic strength of that famous tenor, but it is far more beautiful in moments of tenderness, and he is a capital actor. Alter the third act he was singled out for an ovation. Wreaths were thrust upon him by the pages and the house rose at him in applause. Mr. Slezak was welcomed in a night, and there were no 'buts' and 'ifs.' " From the Xew York Tribune — "Verdi's all-too-much neglected Otello was the opera last night at the Metropolitan Opera House, and, judging from its reception, the New Theatre will not have a monopoly of Shakespeare this season. It is said that the opera was revived to introduce the Metropolitan's new heroic tenor, Leo Slezak, who sang last season at Coverit Garden, and whose achievements have been pictured to New York in brilliant colors. Whatever the reason, however, New York can only be grateful. It was a splendid production of a splendid opera. •Much has been written of the gigantic physical proportions of the Czech tenor, but it is doubtful if any one expected the colossus that appeared. The audience fairly gasped when Herr Slezak made his entrance. It seemed as if a section of the proscenium arch had suddenly stepped upon the stage. Yet, despite his great size, his was no mountain of flesh, but such a figure as would have delighted the audience that once applauded the heroics of Tommaso Salvini. "With it all, Herr Slezak showed himself a splendid actor, tender in the opening scenes with Desdemona, depicting admirably his growing suspicions of his wife's fidelity, and superb In his wrath and final brokenhearted despair. It was an impersonation not soon to be forgotten. There was a certain huskiness at times in his voice, due, perhaps, to nervousness, but it is a voice of fine power and one used with more than ordinary discretion." From the ISew Yuri; Sun — "After an absence of nearly seven years from the stage of the Metropolitan Opera House Verdi's Otello was revived there last evening with a cast including Leo Slezak. the new Czechish tenor. Mr. Slezak, who hails from the Vienna opera, proved to be a tenor of prodigious physical height and of lofty artistic stature. His voice is robust and of much beauty throughout its range. While its middle register was somewhat veiled last evening, there was always correctness of intonation and a hint of reserve power. • When, for example, he uttered the pealing cry of •Sangue ! Sangue ! Sangue !' there was no sense of strain or exaggeration. Tense as was the pitch to which he carried the auditors here and at other climatic moments, Mr. Slezak did not lose his sense of artistic proportion or his command over his vocal resources. In short the new tenor showed himself to be a singer of high rank. Qis acting, from his delightful enunciation of the Italian text to the commanding sweep of his gestures, the distinguished poise of his head and the variety and range of his means of expression, helped to make this Otello revival notworthy." Kindly disposed, as the American audiences are, toward artists, appreciative of any honest effort, they are yet the most unfathomable when it somes to guessing whether or not a new voice, a new artist will please them. No small credit is due, therefore, to an artist who at once achieves success; but to arouse enthusiasm, to hold an audience spellbound at the first appearance, belongs to very few. It is safe to say that not for many years has such a personal vocal and histrionic success as that of Leo Slezak, in "Otello," been made by any other debutant and aspirant for honors at the Metropolitan Opera House. Splendidly equipped physically, weighing nearly three hundred pounds with a height of 6 feet 4 inches, Mr. Slezak heightened the impression by a very judicious choice of costume. In a long flowing robe richly embroidered, he looked the embodiment of manly splendor, as will he noticed in the accompanying illustration.