davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
Mr. TOSCANINI TO CONDUCT AN
ORCHESTRAL CONCERT THIS WEEK

zone OF the most magnificent. most
hoartrending and strongly affecting
tone pictures OF our time in which, as
one can perceive easily Sibelius has
set forth in tones for posterity the
present lot of his people"
IN support Of this notion 1t can be
urged that Sibclius has placed a dis
tiuctivcly national stamp upon much
Of his music by making it illustrative
of episodes from the Finnish epic
"Kalcvala." Il was thence he drew his
Swan of Tuonela," "Lemminkainen
Journeys Homeward," "Pohiola' 8
Daughter" "Kullerwo" and the three
piapoforte pieces called "ky.hkkl.'
But Sbelius is. by parentage, as much
Swedish as he IS Finnish, and MS life
has been passed under Russian politi-
cal and artistic influences. His
music is basically German, like all
scandinavian music. though i is tlnged
with the idioms of Swedish fOlksOng
and the spirit Of Finnish literature. l.
could not well be different. The Firms
have no racial relationship with the
peoples Of the northern peninsula un-
der whose cultural influence they have
lived fer centuries. They arc Ugrlans
and cousins german to the Hungarlans
and Turks. But their art music de
rivcs from Germany through Sweden.
Saga" is no. Finnish word. but a
Morse. Its root is the ancient Ice
landic Scala, 40 say which we rec
ognizc in the German SdGeN, the old
English sccGdU. and which has pre-
served a meaning for the modern Eng
lsh "a saw Originally. a sdGd was
a tale that was told orally, handed
down by word Of mouth. as all history.
all law. all legends we're till writing
was Invented It's icct matter
might be Of any character religious.
mythical. historical. romantic. amatolv
or what not; so long as 1t came direct
r.. or remotely from the mouth Of the
SnqdMdN it was Sdqd. This symphonic
poem resembles tho pieces which 81
bclius has written to illustrate stories
from the "kalcyala.' in that IL is not
wholly or strictly narrative. though It
contains features which suggest the
unfolding Of a tale. On the whole.
however. il seems to be "A large mood
picture. delIneatiou Of character
Of heroic stature under the influence
Of primordial passions, powers or
agoncie, such impulses as we nat
urallv associate with life IN the dark,
damp. cold. misty and mystical North
land. There is much melancholy, much
tcnderly veilcd gloom in the music.
We hear it proclaimed in the trlste
melody sung by the clarinet early IN
the composition. But there is also an
heroic energy in the rhythmical figure
which takes possession of it at the
climax. i'm which we hear something
like tho song Of Ragnar Lodbrok: Nv g
smotc with swords" The close. with
its exauisitcly beautiful clarinet song.
accompanied by muted strings and
overspread with the faint sheen which
arises from the shivering cymbals. not
FLASHED but gently pounded, suggests
a pathetic outcome for the story. what
oyo,. il he H. H. X.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

with which music in our fortunate day
has been enriched; he had awakened to
the new sense Of the dclineative and
emotional suggestion Of instrumental
timbrcs: he had accepted the new
freedom of meditation.
yet in all his new zest for his new
freedom Mr.. Parser has been quick 70
see that the musical foundation Of
oratorio. c5pecially on the choral side,
is the old polyphonic integrity: He
has kept in 'Morvcn' his skill, has
imagination. his power. even in the up
building Of his choral masses, in the
weaving Of his choral strands. lie Is
not unmindful Of the vocal necessities
and limitations OF choral singing. To
al this ia the choral parts of 'Morven'
he has added the new range and varl-
ETY. Of meditation. the beauty or the
suggestion Of the new harmonlcs, the
new play of instrumental timbres and
the whole range and resource Of the
new musical freedom. Yet more has
he added all these new means in his
writing Of passages for single or few
interwoven voices In means and
method 'Morycn' is as contemporary
and alive as Mona.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

An unusual and most interesting con-
cert by pupils of Bernhard Steinberg,
assisted by Elias Bronstein. 'cellist, was
given at Aeolian Hall on last Sunday
evening before a large audience OF
music lovers. The concert opened with
Nendelssohn's 81 Waited for the
Lord" sung by chorus Of thirty
voices. with organ accompaniment, un-
der the able conductorship of Mr.. Stein
berg. displaying evidence of the careful,
thorough and systematic manner IN
which Mr.. Steinberg instructs his
rupile. A feature of the concert was
The cycle Of seven songs, entitled
"Sch0n Gretlein," by VI. Won FielItz,
sung by Mera Machines. mezzo-soprano.
Miss Machnes's Interpretation, com
bined with excellent diction. called
forth the most enthusiastic applause.
Elsie Goldsmith sang Spross's "Will-o'-
the-Wisp' with good effect; Anna Hal
pern. soprano, was in good voice and
exhibited her talent 20 good advantage
in "A Birthday" by Woodman; Leona
Sherwin. soprano, scored a marked
success in the ayia from Aida; Jean
nette LEVINE. alto. was at her best in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

The concert of orchestral music
which Mr.. Toscanini is to conduct in the
Metropolitan Opera House on Friday
will challenge the attention Of the pa
ttons of the concerts which have been
given by the Philharmonic and Sym
Thony societies and the Boston Orches-
ira. The programme is calculated to
pique a twofold curiosity. What will
Mr. Toscanini do with such familiar
compositions as Brahms's Symphony in
D, and Becthoycn's Pastoral ?' This
music does not give wide latitude
in the matter Of Interpretation;
nor does the overture to Tam
hauscr." The conductor may be eX-
pected to bring out the virtuoso quail
ity Of the opera orchestra in Deoussy's
LA Mer," and in that capital piece Of
musical grotcsquerio, Dukas's "L'Ap-
prent Sorcier." The latter is the bet
ter known work. though the sketches in
which Debussy has undertaken TO pict-
turc the moods Of old ocean have also
been heard here. SIbel!us's "En Saga
Us practically a stranger TO our concert
rooms. though played here five years
ago by the Boston Orchestra, but Roger
Ducasse's "Sarbandc" is a complete
novelty. II is not, as one might sur
mise from It's title, a piece IN the form
OF the old dance which used to hold
& place in the suite and the operate
ballets Of the 18th century, but a sym
homie poem designed to illustrate a
fragment taken from an Old French
chronicle. The passage runs as follows:
"lu the morning of the next day the
dead prucelng was brought to the
Abbey Of Aisnay. Before passing away
/, had often requested with sweet anna
bility: Play for me the "Saraband,' a
dance Of Spain which his fayorite
lutenist played most beautifully. And
i'm his last agony he kept repeating.
play the "Saraband" for me Where
Uuon. as is often vOuchSafed 70 the
departing. the whole length Of the road
way leading 20 the abbey seemed TO re-
sound with the 'Saraband viols. haut-
boy d'amour and flutes mingllng its
music with the psalms of the priests
and clerks. and the frequent lamenta-
tions Of the good Pope. who wept loud
Is. And at the same time all the bells
rang out and all the church towers
droned with the melodious music"
Sibclius's composition is piece Of
programme music which the composer
has left unprovided with programme
II is like song without words. The
language Of its title suggests that the
tale. or story. OF legend. which the
composer leaves for The listener TO
construct. is Morse i'm character; yet
DR.. Walter Niemarn. who has written
with enthusiastic appreciation about
Sibelius as the greatest Of all bards
who have sung OF the rlories and sor-
rows Of Finland. maintains that the
underlying story is that Of the Finnish
people. IN his opinion, I'm Saga is
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

even i'm the middle section beginning
Master, thy high commands there IS
a laps, into the perfunctory and com
monplace. In the finale there are few
noteworthy effects of choral sonority.'
Setting forth what he conceiyes 70
be the shortcomings of the work its
lack of imaginativcncss. its failure 70
thrill Mr.. II. T. Parker, in "The
Transcript" nevertheless finds much TO
praise. For instance:
"Mr. Parkcr's purposes in the music
are as clear He was schooled in the
elder style Of modern oratorio that
drew its polyphonic resource and for
mulas from Bach and Handel and its
imaginative and expressive design and
adjustments from the Mendelssohn i'm
whom it lowered Mr. Parker had mis-
natural aptitudes toward il. and he
practised it more fortunately than
have most contemporary hands in his
settings Of the Latin hymn, 'Hora No
vissima.' He Jared less well with it
in the choral narrative of his forgotten
st. Christopher Then ensued the
change in him that was first significant
i'm MS opera of Mona He had as
simulated the new harmonic idiOms
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
NEW AMERICAN
ORATORIO SUNG
-. Handel and Haydn Rendition OF
"Morvem'' - Comparative Chro-
n0logies i'm Amateur Choral
Culture.
BY II. +. kREHBlEL.

rRING the days of last week the Boston Handel and
HAYDN Society celebrated the completion of hundred years of
~ existence \ festival given in Symphony Hail.
roraton and commissioned for
Brian Hooker and Horatio W. Parker, had
nub Tuesday To that work return
10 made presently; before then appears appropriate for
and reflect that American singing society has
through evil fortune for hundred As rule
choral short of life They have their origin fire.
y discussion of an earlier organization and after snort
v usually dividing like anned having puny organ
where before neither of them strong enough keep
e struggle There musical institutions
a which are older the Handel and Haydn Society but
like it. has been devoted singy energety the public
ae of The Stoughton Musical Society of Slough
Mass founded in 1856 and still maintains nominal existence
m the St. Caeca Society Charleston, S. c. founded in lI02
neither organizations belongs in the class which is honoed
~ the Handel and Haydn Society.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

WITH the usual Sunday night con-
III tonight begins the twenty-thlrd
20 last week Of New York's Metro
Nn'an Opera season Of 19l4-15 and
e seventh under Mr.. Gatti-Casazza' :
-'hseement. The activities Of the
S.npany will conclude with a week
opera IN Atlanta. At to-niChts
, -.eert the programme will include
-uoerS by some of the most popular
TssS OF the company. These are
v'.e' frieda Hempel, Miss Anna Case,
M sophie Braslau, Giovanni Marsi-
Nh Johannes Sembach and Hermann
"a. vi Richard Hageman will conduct
~, orchestra, which will play selec-
G.Hs oy Weber. Tschaikowsky and
49, aioner The operas Of the closing
~ VII be as follows:
b., tomorrow evening. with Mines.
Eo,.;s ana Delaunois and Messrs. Botta,
ls,,..., Dldur. Bada and Audisio, Mr..
aIsn nm conducting
VIII " ravists' on Wednesday evening.
"a emes: Hempel, Egener and Matt
'ho Nessrs. Botta. Amato. Ana
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
LUCREZIA BoRI
IN"IRIS"
I METROPOLITAN OPERA HOUSE
g PHOTO. 6y WHITE.

hosannahs to the King Of Kings, and
also, in his spirit, Our Lady singing a
lullaby to the Christ-child:
81 have dreamed of strange things
This night. Lo, they are gone
The voices. and great wings,
And the three kneeling kings
Leaving me here alone.
Now all is done
With this that is mine own.
The Man. my Son
He finds not the Grail in Paradise.
wherefore he resolves TO depart out OF
that heaven to be born again and be-
come as a little child. "Thereupon the
heavens are opened unto him. and he
beholdeth in vision the Grail and
the angels thereof singing of the
mystery of Gods creation: how
man shall not cease, but through
light and darkness, love and pain,
death and birth, live on between
hell and heaven in wonder everlast-
ing" Morven. in the poets conception.
is plainly a type of manhood in is
ideal aspiration and futile struggles
He abides in Avalon as Ulysses abode
in Ogygia. the Delightful Island, and
as Tannhauser tarried in the Cave Of
Venus; beholding the vanity OF all
things and all cndeavors. he realizes
that it is for him humbly TO follow
the way Of all things earthly and
heavenly, human and divine, from life
to death and back again TO life, ever
onward, never fearing IAN end of any
beauty now begun" Many of the lines
are mere collocations Of words. must
cal in their flow and inviting higher
melody, but there is q real uplift Of
thought and expression in the perora-
ton sung by the chorus on earth which
proclaims mans duty, especially in the
concluding verses:
children of earth, dream on
Beyond your heaven, and dare
Choose your own gold wherewlth ye
shall be crowned
Behold, He also dreams whose dream
We are.
Nor will endure to bound
That vision by the sweep Of any nearer
star
Than We have found most fair.
Therefore from faith to faith, from
goal 20 goal
Unfurl the sunward pathway Of the
soul
Ever 2 new horizon calling
Der the crest OF the purple hill,
Ever amid the music calling
A melody remembered still
Ever TO grow. to gain
Wilder JOY, wiser pain,
Divine peace 20 conquer and defend
By more than mortal strife:
Life. everlasting life,
World withou. end
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
SEASON AT THE METROPOLITAN ENDS
SATURDAY WITH "BORIS GODUNOW"

MAN. Bada. Reschiglian and Begue' Mr.
Polacco conducting -,
"Fidelio" on Thursday evening, with
Mines. Kurt and Schumann and Messrs'
Scmbach. Goritz. Braun, Reiss, Schle-
Gel and Bloch. Mr.. Hertz conducting.
"Nadama Butterfly on Friday even
ing. with Miss Farrar Mines. fornia
and Egcncr and Mcssrs Martin. Scott
Bada and Begue. Mr. Polacco conduct
ing. c-..5..,.
matinee. the occasion being Alfred
Hertz's last appearance after thirteen
seasons as a conductor of the company
with Mines. ODER, Hempel. Schumann'
Curtis, hatfield, Cox, Braslau and Van
Dvck and Messrs. Goritz, Wei, Ait
house. Reiss, Ruysdael, Schlegel, Au-
disio. Bloch and Bayer.
Boris Godunow,' at popular prices
on Saturday evening the season 5
last performance with Mines. ODER:
Delaunois. Duchene and Sparkes and
Nessrs. Didur. Rothier. de Segurola'
Althouse, Rossi, Audisio. Bloch
Schlegel and Reschiglian, Mr.. Iosca-
mini conducting.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

Tomorrow evening there VIII DC
given a concert Of Irish music at
Aeolian Hall bv the Irish composer,
oSpr;ar R,.io. tn nrooraune will
pI'Vn p"''''' iHO
be as follows:
eor-,. r1. o..,,,A ~ ~ rc.n Lem and The
IA ~. -,..
'''' ,yir'~r, simmons
s,r.e. ,,.eboor H., ami lie Was So Old.
'''N' T. 900 t,-....,
e,.,, el,+' l Gin %, n "i', r,,ro,
SGraI2 roma t. '% ','. ', rnsay Hon,ne.
song: kin.3ra; Or Tine Lament LOT N'"'
n''a" i''' John rirnosan
Songs. Tie Fairy King - Assaroe and car
''''H,. r, @ '''' ''''@
''7'''''' ,ftse Inc, t.-botir
,,i-.t.t. D., 80 ''''~ '''
~ Wiescs <o~a and sriela and Masters
rARr ILL.,; o,or, Mug
hACeipsS iI''I i'.' ''' - '''
Pianofortc solo. prelude. scene 7. Act I.
solo: Rose OF tHc World.
a.. ,'l''' ir,. ' b.,1
so G,s ,r i'o 1,o''.r ~ rcs i Curicw cry
Ais. Rose Er,auf.
Ir TO- \ MIC. o tsrso "' and Byran and NJ
,.....-.. H.. ., ihRS-ah. and A., Far, Of
INV taiL w. rr,irc
Miss Rose Rr'ant,.,,....t..-.s
Rcctarye and SOLO: civ No Gifts 10 H@''"
Rccitatlye and solo: The Nisht Is in the DARN
cloud Of Gier Hair.
Miss Rose Bryant.
King. a.,
The Misses barto4H au' l5TaHt anu W.
Iuuecau.
solos. The Heart That's Set Upon Rose
and Tre Very -rrft of All Sadness
..,... .r, -. '''.i IN H. Heard A wild
Bro CRYING ana mere ''''' "'' H'''
MS me- l,tln"u our, ,ou Thee
So!" rs. n ,pa ,.,,rai nv Land
William simmons.
quartet; All. S.,'i 10 ''' -, ut and TIE
i"' ~. t-.,r....7r, and Simmons.
M'9''
,
Mice Edvth Nav Clover, assisted by
William Pomeroy Frost tenor VIII
o,;,o the following programme at ncI
eNe w .evr,,,. o,.onino in Car
piano reClldl lo-IlVii "" '''o "
neCie Chamber Music Hall:
.-,p p...bor.0
senate Ps'Heique a1aso ''''AO'e s.i,,,, m
Nachs'u'N' .......... Rulfustcln
Nase caprice ....... ... ~, ..'.''
t4''n MAY '''''''
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
AMATEUR CHOIRS IN AMERICA
ANTEDATE THOSE OF GERMANY

"a existence OF singing SoClelleS
= he measure Of musical culture
eng the people. L is Germany S
~. that she mas over 500 amateur
- cbo;rs. vet-here is fact to be
,'.lj g. indicative of spirit which
=. not been sufficiently recognized IN
- ov-- country there We're only ten
.,,,,g societies in Germany when the
e.,,oT Handel and Haydn came INTO
'vi,.srce. More significant Stl!l, the
s,pgb.on Musical Society was GER
r,-'y not the Hrst amateur choir IN
.-srjcs. but II antcdates the hISt
.-stsur choir I'm Germany. This choir
I, s,i1 Aourishiug, with the proudest
..,,rd Of any of Gcrmany's muslcal
.-,.,.u+iors Il is the Berlin SIngak-
.5s,ie. which Carl Friedrich FaScn'
...s-nagis; 90 the royal faUust, Fred
-.,. the Great. organized in 1871
s-..- 10 the organization OF this anna
..,- bodv choral music was IN the
..,t. Of profes ioual church ana
.ss.-.csI choristers throughout the
.--.b and breadth Of Europe. There
rsrs amateur bodies in France, Ger
-s-v. Austria and England. It IS true
--. .sey cultivated music Tor their own
is.eta,ion and that Of their friends
md Subscribing patrons. They dld not
:. before the public and SOW the seedS
= ~rsical culture there. Five years
store the Singakademie was organized
+. ps-ip "a choir of 23O amateur sing
,-s Vas cathercd in Philadelphla-the
i,,e was MAY. 1856 70 give a concert
n s-a.orio music. and in the orchestra
n sf.~ musicians there were seven
ghs had participated IN the Handel
C5rnemoratiou in London two years
,sf5re. Americans, Il VIII be seen,
Cultivated music before the advent mere
Of the Germans. who are IN the haolt
taking credi, 20 themselves for all
he musical culture 10 be found IN the
country. go,
There are some more dates which can
Be- brought into iuXtaposltlon 10 snow
he pecular viCor with which music
vas cultivated in the United States
more than a century ago. MIR. Charles
Perkins. who published yoluminous
history Of the Handel and Haydn So
te.y on the occasion Of its seventy.
fi,i anniversary. made enumeration OF
he following organizations when haG
preceded it; The Stoughton Muslcai
Society. 1856; Independent Musical So
,e,y established al Boston IN the
ane year. which gave a concert al
Kings Chapel lu l,eo and TOOK part
cere in concentrating the death o.
Washington December "a, t'9 on ms
,H succeeding birthday the + RANK
2. 1904: the salem. 1906; Massachu-
s.y Musical. 1907; Lock Hospital
1872. and the Norfolk Musical, the date
q whose foundation seems to have
suded the historian. Against this set
he German record the Singakademle
vss organized 10 1891, Leipslc pro-
,4ced an amateur society in 1900, Stet-
Ia IN 1900. Minister 'n lso4. Dresden
= 1907 Potsdam n 1914, bremen IN
bl5, Chcmnitz in 1871 SchNaols5chl-
ail IN 1917, and lnnsbrucN IN 1915;
ne organization Of the Handel ana
Haydn Society was, therefore. Gomez
Gen, with that OF the Singakademle IN
Bremen; but when that society was or
ganzed there were amateur church
Go'rs in America "a far west as On
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
OTES AND COMMENT FROM THE WORLD OF MUSIC
CALENDAR FOR THE CURRENT WEEK.

panofore recital by Harold bauer
Gabrlowtsch; s:l5 recital by Grace Dee'
Metropolitan House concert Arion Hall $40 H.
m. recital by Samuel BALDWIN
House, Italian opera IRIS Fheh
recital by Tom Dobson Aeoian Hail.
85 p postponed Of Irish music by oBren Butter Suc
Hall BROOKLYN recital by David Bspham' carnegie
Chamber Music Hall recital By Edith May Clover
Hall 8:l5 concert by TonEunst!er society
WEDNESDAY Metropolitan Opera House Italian opera La
Traviata"; p concert OF the 'BS
Club; City College M recital by Samuel BALDWIN
THURSDAY Metropolitan House German OPERA flde'o
rpIn,y voopotan Op House p Italian "Madama But
tvp. svr,rhonv concert direction Of Arturo Tos-
cann Bmore, morning mus'caIi 'lege nan "''''
Music Room S:l5 m, recital by Mabel H. AacConne"
House, German opera 'o'eh
tavaler" 8 D. m Russian opera Italian, Boris Goduno"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
TIE NEW GRAIL.

The Grail in Mr.. Hooker's philosophy
cal scheme. though presented in vari-
Gus physic aspects, has none Of the
attributes Of the talisman Of Celtic
folk ore or the cup of Christs passion
as il appears i'm the Arthuriau legends.
II is cup guarded by angels, who
urge the nero on his quest II was
created OF a star. which was Pain,
which the Lord let fan into the sea.
which was Love In the cup fashioned
of the gold Of the star the Lord
blended
"Winc that was poured in hell
To wakcn the heart of sin;
Water from streams that rise
Where weary angels win
Heaven and fall asleep;
And blood Of sacrifice
Burned for old gods that weep
Forgotten and the Lord
Blessed the cup, and drank deep
And set it for sign
In the West. and spoke word,
Saying: This blood is mine:
Let him lrkO hhDtQerCH
Drink! And He called the vine.
Life. and the water Death.
PROFESSOR PARKER'S MUSIC.
TO Judge BY the printed page there
is much that is characteristic OF
Parker, best of American choral com
poscrs. i'm "Morvcn." As has been IN
timated, the finely adaptable poem in
vitcd a modern idiom. but also asked
adherence t. older forms and formulas.
Professor Parker has made use OF the
poignancies Of the newer harmonles,
but has built solidly and logically.
Wealth of imagination in melody the
music does not show, nor as much
dSamatic variety as the contrasting
&rsonages and incidents would seem
10 invit, There 8 recurrence OF theme
i'm the structure, but the reason Tor
il is not always obvious. We cannot
always follow the composer IN the
psychology OF his creative processes.
The Boston critics seem to have found
the music wanting in s1' ltanelty,
Imagination and senSuous charm. Mr..
Hale said o. It in THE Herald:
This music is not conspicuous for
beauty Of melody, obvious or subtle;
for dramatic significance, or for that
rapt. ecstatic emotion with which so
many pages in 'Hora Novssima' are
charged. The chorus Of the Dwellers
in Avalon suggests surely seusuous
treatment, but the composers dwellers
are matter Ol-Idct' almost SldtlSllCdl >
in their invitation to rest. Sigu~d Is
not heroic the moment he begins TO
sing.
The song in Valhalla might well be
in more barbaric strain. Not TIL We
come TO the Saints singing We have
sinn'd and turn'd away our faces do
we find the mastery that has char
acterized Mr.. Parker's treatment OF
Iuliabv of Our Lady stands out in
hold relief from a confused drab. in
consequential background. Here are
imaginative measures for the voice
with fine poetic instrum}ntation. Yet
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18

Louis EURO. director Of the EURO
Grand Opera Company, announces that
the season at the Peoples Theatre will
open ON Monday evening, April %, with
a performance of Aida" Perform
ances viii be given every night and
matinecs on Saturday and Sunday.
Ignacio Castillo, formerly OF the Bos-
ton Opera House. will DC the musical
conductor oil the company.