The New Opera Comique

              The New OPERA COMIQUE
PRESENTS
THE MAID SERVANT
By
G. B. PERGOLESI
and
THE SECRET OF SUZANNE
By
ERMANNO WOLF-FERRARI
SUNG IN ENGLISH
CONCERT MANAGEMENT WILLARD MATTHEWS
333 EAST 43rd STREET
NEW YORK, N. Y.



The New OPERA COMIQUE
PRESENTS

ROSEMARIE BRANCATO Soprano
RUBY MERCER Soprano
POMPILIO MALATESTA Basso-Buffo
ANNAMARY DICKEY Soprano
MIRIAM MILLER Soprano
ELWYN CARTER Baritone

IN THE MAID SERVANT
(LA SERVA PADRONA)
By G. B. PERGOLESI
and
THE SECRET OF SUZANNE
By ERMANNO WOLF-FERRARI
SUNG IN ENGLISH
IN COSTUME

Musical Director
ENZO DELL' OREFICE
Assisted by
THE ROTH STRING QUARTETTE
and
THOMAS RICHNER
At the Piano




SYNOPSIS OF THE OPERAS

THE MAID SERVANT
Comic Opera in One Act
Music by
GIOVANNI BATTISTA PERGOLESI
UBERTO is waiting for his servant, SERPINA, to bring him his chocolate, but she does not come.  He sends his valet, VESPONE, for her.  SERPINA complains that she is maltreated, that her master imposes on her.  She would really like to play mistress in the house and act as she pleases.  UBERTO wants to go out, but she compels him to stay in.  UBERTO tells his valet, VESPONE, to go out and find a wife for him, as he does not want to be ruled by his servant.  SERPINA has made up her mind that her master must marry her.

SERPINA gets VESPONE to masquerade as a soldier.  She wants to catch her master by stratagem.  UBERTO is dressed to go out, but SERPINA detains him.  She tells him that she is going to marry a soldier, whose name is Captain Tempest, and whose temper fits his name.  She calls this soldier in and presents him.  She describes all his bad qualities, and so arouses the pity of UBERTO.  SERPINA informs the latter that the soldier wants her dowry on the spot, and when UBERTO objects, the soldier (who is VESPONE in disguise) takes hold of his sword as if to draw it.  UBERTO gets frightened and wants to know if he can some to any terms with the man.  SERPINA tells him that the soldier would agree to give her up if UBERTO married her.  UBERTO gives in.  VESPONE takes off his disguise, and SERPINA and UBERTO are plighted.



THE SECRET OF SUZANNE
Intermezzo in One Act
ERMANNO WOLF-FERRARI
Called an intermezzo, as though it were a modern SERVA PADRONA, the brief one-act comedy of IL SEGRETO DI SUSANNA, like the ancient works of the species, is always joined in performance to a longer operatic work.  Golisciani's libretto offers only three characters — Count Gil, aged thirty; Countess Gil, aged twenty, and a servant of fifty, who never utters a word.  The scene is vaguely Piedmont; the time stipulated, the present.

The count suffers an attack of jealousy because on returning home he detects an odor of tobacco in the drawing room.  His wife's answers to his questions are evasive.  Evidently she has something on her mind!  When Gil fails to discover any clew, he gets so angry that he smashes furniture.  The countess calms him and persuades him to go to the club.  Then she bids Sante, the servant, bring her the cigarettes, and so her secret is out!  Suddenly the count appears at a window to get at the truth by surprise.  He is so relieved at what he sees that he jubilantly joins and smokes the cigarette of peace with her.





ENZO DELL'OREFICE
Conductor
ARTISTIC DIRECTOR, THE NEW OPERA COMIQUE

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ENZO DELL'OREFICE, Founder and Artistic Director of the New Opera Comique is a native of Italy.  He comes from an old and distinguished musical family.  As a youth he entered the celebrated National Royal Conservatory of Italy, San Pietro a Maiella, in Rome.  At a very early age he graduated receiving the degree of Maestro, the highest the Italian nation gives.

He studied voice with Beniamino Carelli, one of the greatest teachers of singing of Italy, and was appointed director of the Chorale of the Royal Grand Opera of San Carlo, Naples.

Shortly afterwards he was engaged by Enrico Caruso as his coach and musical mentor, touring the continent with him in opera and concerts, as well as at the Metropolitan Opera House, New York City, where he coached the famous tenor in such roles as Jack Johnson, in Puccini's Girl of the Golden West, and in Gluck's Armida, for the world premier in 1910 under the baton of Toscanini.

The Italian maestro, who has become an American citizen, has, nevertheless, devoted his entire career to music except during the World War when he was enlisted as a private soldier in the American Expeditionary Force.


The performance was a pleasant surprise in its smoothness and efficiency.
N. Y. Journal


The audience was large and vociferous in its appreciation.—
Philadelphia Ledger


The company, under the direction of Enzo Dell'Orefice, is excellent.  We hope that this splendid organization will return to Montreal again next year.
La Presse (Montreal)




THE ROTH STRING QUARTETTE

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THE ROTH STRING QUARTET, one of the finest chamber music ensembles on the concert stage, was founded by Feri Roth, leader and first violinist of the Quartet, in 1922, and reorganized in 1938.  He comes from the great Hungarian Academy of Jeno Hubay, while the three other artists were with the well-known Austrian pedagogue, Kortschak.  The Quartet's repertory is broad and is distinguished by inclusion of well-known and rarely heard classical chamber music works, as well as the music of important contemporary composers.

(FROM COLUMBIA RECORDS CATALOGUE)




THOMAS RICHNER
Pianist
WALTER W. NAUMBURG WINNER

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THOMAS RICHNER has gone from one success to another, adding to his innate musical feeling and broad technical training a maturity and depth which have made him, according to the New York critics, one of the most promising of the young American pianists.

Culminating in the Naumburg Award, which he received in 1940, Mr. Richner's career has been marked by the number of times he has emerged the winner in open competition against the best young contemporary pianists.  In addition to the Naumburg Award, he has also received the MacDowell Club Award.

Born in Pennsylvania, Mr. Richner began to study the piano at the age of five, and within four years was so accomplished he made his debut as soloist in Pennsylvania and West Virginia.  Following graduation from high school, Mr. Richner entered the University of West Virginia where, as a student, he continued to play before concert audiences, and became particularly popular as a performer before college groups in the South.

Coming to New York, Mr. Richner was offered an artist scholarship by Harold Morris, well known pianist and composer.  Mr. Richner continued to make concert appearances, in addition to appearing with the W.O.R. Little Symphony, the New York Civic Symphony, and the National Orchestral Association.  Mr. Richner is also organist of the Fifth Church of Christ Scientist in New York City, and conductor of the Bell Chorus of New York.




ANNAMARY DICKEY
Lyric Soprano
METROPOLITAN OPERA ASSOCIATION

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ANNAMARY DICKEY, the lovely young soprano of the Metropolitan Opera Association, comes from one of those rarities in American home life—a really musical family.  Her father, a doctor, is an excellent singer; likewise her mother whose romance with Mr. Dickey culminated in a chance meeting at a vocal studio.  In childhood, Annmary played both violin and viola in the school orchestra, singing, as well, the leading roles in local musical productions.  At seventeen she began her professional career singing in Churches and various Clubs throughout her native State, Illinois, which enabled her to come to New York for further study.

Shortly afterwards, the young and attractive girl had an opportunity to tour the East, with brilliant success.  She was offered, during this first season, the opportunity to understudy the star in The Great Waltz with the St. Louis Opera Company, and accepted it with alacrity.  Like a dream, she became successful overnight.  The leading lady became ill and with only a half-hour's notice—and no rehearsal—Annamary Dickey sang her way to fame.  Lavish praise was heaped upon her from every side and the next morning her name was featured in headlines across the newspapers.

Annamary Dickey has been a member of the Metropolitan Opera Company since 1939 and has sung approximately 100 performances with this great organization.  She has likewise been heard in Opera in Cincinnati, Montreal, Puerto Rico and the Worcester Festival.  Concert and radio engagements fill out her busy season.  Recently, she was starred on such network programs as Pet Milk and the Kraft Music Hall.




RUBY MERCER
Soprano
METROPOLITAN OPERA ASSOCIATION

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Born in Ohio, RUBY MERCER is a truly American artist.  She graduated from Ohio University and held a fellowship at the famous Juilliard Graduate School in New York City.  It was while appearing in a stage production there that she was discovered by Mr. Edward Johnson.  He invited her to sing at the Metropolitan in the Spring Season, where she appeared as Nedda in Pagliacci and as Marguerite in Faust.

Then followed a Town Hall Recital, a Broadway Show, Radio, and a Hollywood contract.  The summers, Miss Mercer has devoted to opera and operetta performances with the Cincinnati Civic Grand Opera Company and with the St. Louis Municipal Opera Company.  Last summer she was starred in the Carnegie Hall Operetta Revival Series in New York in the production of Romberg's New Moon.

Last season Miss Mercer sang the romantic role of Evelyn, in the New Opera Company's production of La Vie Parisienne, and earlier this year, made a tour as prima donna in Don Pasquale and The Barber of Seville with Metropolitan's star basso-buffo, Salvatore Baccaloni.




ELWYN CARTER
Baritone

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ELWYN CARTER, who has appeared in every part of the country as an operatic and light opera lead, concert recitalist and oratorio and radio singer, commands a voice whose range, depth and power are the perfect complements to his towering, Olympian physique and impressive bearing.

Born in Detroit, Elwyn Carter cut the first musical turf of his career at the age of 5, when he sang at most of the important churches in his native city and surrounding cities and towns of Michigan.  Following his graduation from Alma College with a Bachelor of Arts degree, Mr. Carter won his Master's at the University of Michigan and then entered the Juilliard Graduate School, where he was awarded a Fellowship under Bernard U. Taylor.  He is now completing the requirements for his doctorate the Columbia University.

At Juilliard, Mr. Carter took the leading baritone roles in all the well-known operas, in addition to playing in productions not ordinarily given at the Metropolitan, such as The Sleeping Beauty by Rubinstein and The Abduction from the Seraglio by Mozart.  Mr. Carter is baritone lead of the Opera in Miniature Company, which is touring the country this season in the principal scenes from Faust, Martha and Carmen.

With over sixty appearances last season in concert and oratorio, Mr. Carter's versatility manifested itself in singing performances with the Handel-Haydn Society of Boston on the first nationwide short wave program ever broadcast in the United States; as soloist with the Detroit and Canton Symphony Orchestras; at the Rock Island, Bayview, Central and Brenau Music Festivals: in light opera roles with the Gilbert and Sullivan Society of Larchmont, and in The Bohemian Girl at the Paper Mill Playhouse in Milburn, New Jersey; and at popular concerts in important cities and colleges.  For the past five years Mr. Carter has been soloist at the First Presbyterian Church in New York.




ROSEMARIE BRANCATO
Lyric Coloratura Soprano

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ROSEMARIE BRANCATO'S rise to stardom has a quality of predestination that has followed her since her first success, when she won the State of Missouri Singing Contest, and later, a scholarship at the Eastman School of Music.  While a student, she was placed first in the Atwater Kent Radio Competition.  Such rapid progress assured her a brilliant career; but the dramatic circumstances of her debut hardly could have been foretold — a phone call from Maria Jeritza — a flight to Chicago — two days preparation for the role of Gilda in Rigoletto at the Chicago Civic Opera Company.  Herman Devries, veteran Critic of the Chicago American, wrote of that occasion, Not since the sensational debut of Galli-Curci has such a pandemonium of applause greeted a new opera star in Chicago.  For at least four minutes after the aria 'Caro Nome,' the conductor was not allowed to proceed.  The wild enthusiasm of the ovation as well as its length clearly put it in the same class as that memorable event in 1916.

Opera devotees have enthusiasically acclaimed her performance with the Chicago Civic, Cincinnati, San Carlo, and Havana Opera Companies.  She thrilled 25,000 people at the Hollywood Bowl with her Rosina in the Barber of Seville and immediately was demanded for the World Premier of Vicki Baum and Ann Ronell's modern English version of Martha.

In the field of radio, listeners have been quick to shower their approval on her many appearances as the featured singer on such pouular programs as Dr. Christian, Voice of Firestone, Death Valley Days, Radio City Music Hall of the Air, Twin Stars, and Lanny Ross' Program, meanwhile appearing for four years as the Star of Consolidated Edison's Echoes of New York Town.




MIRIAM MILLER
Lyric Dramatic Soprano

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MIRIAM MILLER, talented and lovely young American dramatic soprano, who is a native New Yorker, has been gifted with a genuine sense of the dramatic, poetic insight and musical intelligence, as well as an exceptionally warm and rich natural voice.

Though she began her musical intelligence with the study of the piano, Miss Miller was determined on a vocal and dramatic career before she was 7 years old, in spite of the active opposition of her parents to her stage ambitions.  However, their opposition gradually relaxed, completely disappeared and finally gave way to wholehearted approval in the face of the development of Miriam Miller's remarkable talents for singing and acting.

Miss Miller has studied voice with Samuel Margolis since she was 15, and for the past few years her coach has been Enzo dell'Orefice.  She is also a graduate of the Alveen Theatrical School, which is a producing stock company, in New York.

Since her singing debut in the Nine O'Clock Revue, a musical comedy, in New York, when she was 18, Miss Miller has given many recitals in the metropolitan areas and has appeared at many of the leading hotels, including the New Yorker, Commodore, the Astor and the Waldorf-Astoria.

Miss Miller has also sung the leading roles in Aida, Cavalleria Rusticana, Il Trovatore and Tosca in productions of the New York Grand Opera Company in New York, Newark and other Eastern cities.

No stranger to New York radio listeners, Miss Miller has broadcast over most of the metropolitan stations and for two years conducted her own program over WMCA, singing operatic arias, ballads, and duets from operettas, with assisting artists.




POMPILIO MATALTESTA
Basso-Buffo
METROPOLITAN OPERA ASSOCIATION

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POMPILIO MALATESTA has been an active member of the Metropolitan for twenty-four years; of Covent Garden, in London, for ten; and of the Chicago Opera for the past five.  He was born in Italy, studied there, and made his debut at twenty-one in Perugia.  He first came to America in 1910 with Campanini; and he has held United States citizenship for many years.  Although he has sung the principal bass roles in many operas, it is his characterization of Dr. Bartolo in the Barber of Seville and Uberto in The Maid Servant — that has made Malatesta famous throughout the world.

…Pompilio Malatesta contributed greatly to the fun of the performance with his valid and droll portrait of Don Bartolo.  One is apt to forget, perhaps, because of the present furore over a newly arisen buffo, what a deliciously mello comedian Mr. Malatesta is.

Philadelphia, Pennsylvania

…Malatesta handled his role with finesse.  His comedy was superb and his asides in English practically brought the house down.

Hagerstown, Maryland

…Malatesta was the piously fearful Sacristan.  Anyone who has had the pleasure of witnessing one of Malatesta's portrayals can visualize the character.  As a jailor he was equally fine.

Cincinnati, Ohio