New-York tribune., 1922-01-29
Two Singers Make
Their Debuts Here
With Chicago Co.
Nmc. Ivogun i'll "Barber of
Seville" and Mary McCor-
mic in "Carmcn'' Pleasing
To Manhattan Audiences
Bv Fl. (. Krehbiel


w., n.,hl;c were introduced at per- I
BY the Chicago Opera Com
..ny At the Manhattan Opera House /
r..t4rday. They were Maria lvogun IN |
po.,,ni's al Barbiere di sivigl'a,' IN |
i. Afternoon. and Miss Mary McCon- !
mic. in the secondary part Of Nicacla
:, "Csrmtn" in the evening. he for
ner = an artist OF experience. having
,..n member of the opera company ,
.. Munich. her native city. ever since )
-. ho-,nr;nr of her career. not many
,..-. 400 but lone enough to have en-
.h,.d her to win an enviable reputation
- Germany, especially in the operas
:, Mozart. Munich is the Elcusis of
The Mozartian cult, so that a rcputa-
.icn &. rricstcss in his mysteries
means something; or ought to. The
,;reumetancc that she sang but once in
IA home Of the company of which she
sa member might also he supposed
>. possess significance. SO did her
sr,ins yesterday 1t would be inter
sting to try to throw light upon the
,,;ple complex, but that is urncccs-
,.r1; We have sufficient concern in
dealing with her performance ycstcy-
dsy
Nne. lvocuu is a richly endowed
singer OF the type whose great exam
plans belong TO the past. and whose
standards must be modified in listening
10 the cprescntativcs Of the present.
She has voice Of ingratiatinc timbrc.
within range moro restricted than
that Of several singers now before the
public who arc deficient in the clc.
merts Of charm which arc individuality
ters Her instincts arc musical. She
knows the meaning of phrase and its
value. She has heyibility if not great
voiublity Of utterance. She commands
4 scrvlcoahle if not brilliant staccato.
Ne cannot unqualifcdly praise her
trill, but 1t viii pass muster in these
days ~hcu analyses like that in which
se are lndulglng arc seldom called for:
ard We had 70 deplorc some lapses from
the pitch which is more serious mat
'.r. Time was when singers were csti-
msted almost entirely in terms of this
sort tho kind of voice. the extent of
It's range its equablcness, the technical
finish of tho trill. the business of in
'onatIon- he capacity to body forth
dramatic character was Of minor con
'ideratlon We have hoard that down
70 INC Gays Vhon Italian opcra was
sready abiished as a favoritc en-
isrialnmeHt in New York the great
Gusi caused excited comment bv dis
cosinc omotlona agitation a. Norma
srd the other tragic folk. Dramatic
singers, q lcast have different fads
NOWADAYS
Her Companions Boistcrous
Ame. ivogun's dramatic instincts arc
no, eminent She was not n par,jcu-
iaf.y graceful for that sic INDUCES
m TOO long stridc), or arch. or
? qaaht Noslna. If she had been she
To1ld nave been littlc out Of the
cfanatIc picture created bv her com
lannon's IN TIC cast, all Of whom were
ID an extremely farcical mood and bent
~ Great ,s a. much rude joll.ty as the
'ee's lowed, even at some sacrifice
q INC music. Perhaps she is not ia
nl,la' with Sorc of tho Yuder sort Of
halan traditions. and had her mind
moro on the music than on comic fool
mes Mr.. Lazzarls mental WORKINGS
'efe different. He thought snuff. a biz
o'ofcd handkerchief. spcctaccs and a
neaf zeal of clownishness necessary TO
,ao!ish the humor of Don Basilio. but
ea FAR short Of giving tho delicious
tolunnia''
Mr.. Schipa sang better. though in a
csy'e ralner heavy for the music of
,,ve'"I AlmaVira. and also acted bcttor.
"e hHed ono of his variations from
WY s'ereoiypod performances very
,alch hc sang the cayatina 1ndcr
Hesina S window to the accomnan;rncYt r'uS'
guitsr. This was return to 2
deVIcc which though excellent in nnr-
posc' heinod to wreck the first perform
snee NMch the opera had something
,"v.e % man century ago. Garcia. the
vr.s,ns' lMno rSonator Of Almavira. per
,Vaueu NosSlni 20 let him sing a Spar-
rrs;"S WIN q guitar as scrensdc to
a eo,,raI 'hen about to begin be dis
nm. .4'G Wst the instrument was out OF
dis..,. ~ Se'e1ne- the pegs 10 mead that
,oncssG' string broke, and this
G.. G.'4eo 'ho ris'nles of tho audience
md 'eceiNed tho song with laughter
.,r; ''9vA W mutations OF Spanish fori
,oa ,o.' "en Figaro reappcarcd ON no
~ido," "'So with guitar the nonu,ar
-. 1ie became 4 terous din Enr
%e TX. representation Rossinj ;r,ra.
ssJou s;oio !, nc INC cavatina "Ecco ridento IN
,o,o the melody of which no hor.
;r.u i,r. !, from his earlier opera. "Aurs-
,..t for fun's sake sir. Trovjsan fro
ss g-ent s dreppcd INTO the @nasl';'.- ',' i've
si.o ,be' r not +. only in the rccitative but t
II,.ln III, "a inc ensembles. adding to the
s"srious sas:ous enjoyment Of those in ,bo
ss.'ence ~. VINO understood Italian. S;r-
ps. p.., ferrari conducted the orchcstrs
nl,.a lL.naps 1t should be added to com
Wv. ns'e me record of an ENJOYABLE after
noon that Ne. Ivogun sang ycca1
ssssr'angcment ss' Of Johann Strauss's w,It1
s!or'cs From tho Vienncsc Forest
s"o Gel Acqua's "Vilanella' in tho
sssoA scene, and that Mr.. Ballester
ss'ogn.zlng that there was no need 10
axe Sevlle's factotum also the
Ems bufoon. acted and sang we'll
-. within the boundaries Of lcritj
sc comic opera.
Miss McCormic Does Well
aiss McCo-nlic, who effected her
ce franco on the New York stage in the
-e"'he 8 representation OF Carmen" ="
wv .I ~ Eee