Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-09-13

concert master, Werner Ly-
wen, In the first Bruch con-
certo. Also on the program
! will be q not-yet-announced
work commissioned by the
Ford Foundation and the
Shostakovich NTH symphony.
January 1920. Rosalyn
Tureck. pianist. plays two
Bach concertos- those In, @
minor and d minor-with
the orchestra, which rounds
out the program with Fetler's
Contrasts for Orchestra"
and the fourth symphony Of
Dvorak. \
The Philadelphia Orchestra
returns January 1927 with
the overture to Der Frei-
schultz" Two Pieces for
Orchestra" by Mcdonald,
"The Swan Of Tuonela" by
Sibelius. Ravel's ''Daphnis
and Chloe. No. 2" and the
fourth symphony Of Tchai-
kovsky.
SchwarzkOpf in February
Elizabeth Schwarzkopf, the
great Viennese opera and
lieder singer will be soloist
with the symphony on Feb
ruary 1924. She will sing
both arias Of Fiordeligi in
"Cosi fan tutte," the closing
scene from Strauss "Capric-
cio," and the Liebested from
Tristan und Isolde" The
orchestra will play Che Bizet
symphony. that charming
piece that is the fayorite of
radio disc-jockeys. and which
you can never quite spot al
though 1t is always insis-
tently familiar.
In March, Rudolf Serkin
will play the Emperor con-
certo in q concert otherwise
devoted to q suite by Purcell
Barbarolli. q set Of variations
on a theme Of Sweelinck by
Holler, and the overture to
1.-THE Battered Bride" March
% and %. the Howard Uni
versity Choir. under the d.
rection Of Warner Lawson.
will join the symphony for a
concert, the program Of
which is not yet announced.
March 20 and 30 Sir Thomas
Beecham conducts the SYM
phony in the Haydn SYM
phony No. 102, the Mozart
symphony No. SO, and the
Brahms second.
The season concludes with
the Washington premiere Of
Janus" a new work by Paul
Creston, the Berlioz Sym
phonie Fantastique" and the
c major Beethoven concerto
with Glenn Gould as soloist.
. HH -
NEW OPERA
A new aspect of opera win
be seen here next February
when the New York City Gen.
ter Opera brings three con-
temporary American operas
to Lisner. No form Of art. be
1t as vital and as popular as
you wish, can survive for long
If it does not sustain vitality
from new creation. We may
not like modern" art or
poetry or music. but without
any one Of the three the clas-
sic counterpart would quickly
stagnate and become q mu-
scum piece.
The unusual expense Of
producing opera has. until
recent years, limited per-
formances to a large extent
to the six or eight shows that
are assured Of wide box
office appeal. During the last
is years many other good
operas that have proven their
worth through the less ex-
pensive medium Of the pho
nograph record have found
their way to the stage. But
contemporary American OPP
era. with the exception Of the
works Of Menotti. half
Broadway half-long hair, has
been only something to excite
the composer and interest q
small group Of friends who
hear the score read labori-
ously at the piano.
During the last few years,
q few opera companies have
courageously staged new OPP
eras by Americans, sometimes
with unexpected box-of:ice
success. The New York City
Center Opera, sustained by
the financial backing Of the
Ford Foundation. is at pres
ent promoting contemporary
American opera not as an
occasional leavening Of the
standard loaf but as an ar
tistic endeavor asking to be
judged and enjoyed as q self
sufficient entity.
The City Center is embark
ing on q tour Of many cities
Ia tour that opens in WASH
ington next February. The
three operas to be performed