New-York tribune., 1919-12-01
TetraZzini and
Destinn Heard
AT Hippodrome
Caruso Leads Applause for
Italian: Tosses Her Bou-
quet; N. Y. Symphony and
Observation-Disclosures

Two sopranos, we'll known in former
years to New York music lovers, re-
turned to US yesterday after several
seasons absence They were Luisa
Ictrazzni and Emmy Destinn, and
both chose the Hippodrome as the
place in which they we're to make their
temperance. Nine Tetrazzini's reci
tai was in the afternoon, and the great
auditorium held an audience OF very
near capacity, which burs, forth into
tumult of enthusiasm when he
Italian coloratura soprano made her
monumental entrance. The applause
was led by Enrico Caruso, who was
seated with Mrs Caruso. and Antoaio
Scott. in a stage box, the great tenor
having previously himself received the
plaudts of the audience. At the cor
clusion of the Mad Scene from Hamlet
Mr.. Caruso rose in his box and tossed
Nine. Tetrazzini huge bouquet Of
roses. and the audience again shouted
itself hoarsc.
Exaggerations Of Style Conc
Nine. Tetrazzini has not decreased in
size since she was last here, but she
has increased in artistic stature There
were yesterday none of the eXaggera-
tons of style which had marred her
appearances in other DAYS, and she had
hullt up her middle register, SO that i,
had become Of d really lovely quality
in place Of the infantile timbre OF
Hammerstein days. Yet her voice was
as powerful as ever, and despite her
evident nervousness her fcats of
bravoura were as astonishing as Of old.
Moreover, her voice has even gained in
color, and her use Of it was often
thrilling in its dramatic effect. In
short, Nine. Tetrazzini is to-day a far
finer artist than she ever was when heT
trills and runs were the delight of
Thirtyfourth Street She sang the
Mad Scene from Hamlet" Solveig's
Song Of Greig, Mazzones's "Sogrl G
Can't" Cimara's "Canto di Primavera'
and Benedict's Variations on The
Carnival of Venice"
a Voice as Warm as Ever
Nine. Destnn appeared in the even
ing as solost with the Cincinnati Sym
phony Orchestra and she showed that
her two years as an Austrian prisoner
had affected neither her figure nor her
VOlCe. 1icI NOlCe was dS TOuHu, as warm
and as easily produced as ever The
Metropolitan is TO be congratulated
that Nine. Destlnn is TO appear as a
member OF the company later in the
season. She sang with the orchestra
III va venir" from LA Juive," "Nissi
d 'Arte" from "Tosca,' an air from II
Trovatore" and several songs The
orchestra, under Mr. Ysaye gave q
rather heavy rendering Of the "f.roica"
symphony of beethoven, though one
which with the material at hand re
fected considerable credit on Mr..
y Ysaye.
New York Symphony Concert
The New York Symphory Orchestra
gave It's third Sunday afternoon con-
cert at Aeolian Hall with Sascha ia
cobsen as the assisting artist Mr.
jacobsen played Lalo's "Symphonle
Espagnole" with fine spirit, rhythmic
sense and firm tone and in it he was
sympathetically accompanied by Mr.
DamrOsch.
The symphony was the "Jupiter" of
Mozart, of which Mr. Damrosch gave a
polished performance, even if with
tempo rather swifter than is usually
met with in readings of this work. The
two concluding numbers of the program
were the prelude to "Lohengrin" and
Franck's symphonic poem, ''Le Chasseur
Mondit." The audience was of capacity
size.
Metropolitan Concert
The Metropolitan Opera House held
its usual Sunday night concert Toscha
Seidel. Claudia Muzio and Morgan
Kingston were the artists, and the or
chestra played under the direction of
Richard Hageman. Mr.. Seidel played
the Mendelssohn f minor violin CON
certo in his accustomed fiery style
Mr.. Hageman directed the orchestra in
the Bizet overture "Patric," in the
List Hungarian Rhapsody No. IA, and
in the various orchestral accompani-
ments, and Miss Muzio and Mr.. King
ston sang operate arias and songs
$4,000 Sought Through