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Madame Schumann-Heink

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1919

Figure

© HALL
Madame Schumann-Heink THE WORLD RENOWNED CONTRALTO
AUGUSTANA COLLEGE AUDITORIUM
Thursday Eve., October 30th
PRICES: 75c., $1.00, $1.50

Auspices: AMOO GROTTO No. 57

MR. FRANK LA FORGE
The Distinguished Composer, at the Piano

Exclusive Management: Haensel & Jones, Aeolian Hall, New York

Steinway Piano Used by Madame Schumann-Heink

Schumann-Heink CONTRALTO
THERE is but one Schumann-Heink and the glory of her art can never be put into words. The world knows her and marvels at her; thousands upon thousands worship her; all hearts are gladdened by her presence and warmed by the infinite love that radiates from her generous spirit.

Few artists, native or foreign, have ever grown into closer touch with American audiences and American institutions than this remarkable contralto; she has blazed the musical trail through many remote and unexplored quarters of our country, opening the way for other concerts and awakening an interest in the best of art. She has succeeded in arousing a love for classical songs among the masses, an accomplishment in itself that entitles her to lasting gratitude. Of her work in this country, her associations, her citizenship and the affection she has received, Schumann-Heink is indeed proud.

It is in this country of which she has been a citizen for many years that Schumann-Heink has found her greatest success and warmest welcome and it is in this country that her heart is. If any more conclusive proof were needed than the fact that she gave four of her sons to fight with the American forces in the late war, it could be found in the resumé of her patriotic activities during the past season. Giving up all of her professional engagements for several months, Schumann-Heink, The Greatest Mother in America as she has been called by her boys—the American soldiers—has devoted her entire time and energy to singing at the various cantonments—to speaking and singing for the Red Cross, the Liberty Loan and other patriotic drives, and, in short—to giving herself without stint to the great cause for which America and her Allies fought.

Hundreds of thousands of American soldiers to whom the name Schumann-Heink means Friend, Mother and in the case of at least one regiment, Colonel, has gone over the seas better fighters and finer men because of the inspiration and love of this wonderful woman. It is a mutual admiration—that between Schumann-Heink and the American soldiers, for one has only to mention our boys in her presence to have her enthusiastically exclaim—They are the most wonderful boys in the world. They have youth, enthusiasm, spirit and courage—what power can stand against these! Of the boys feeling for her, nothing could be more typical than this little note received
by the great contralto after one of her recent cantonment concerts:—Dear Madame Schumann-Heink: I wonder if you know how we rookies love you? (Signed) One of Them.

Some Record Breaking Audiences

Oakland, Cal., 35,000, June 9, 1918.
Ocean Grove, N. J., 10,000.
San Diego, Cal., 25,000.
Salt Lake City, 10,000.
Trenton, N. J., 9,000.
Brooklyn, N. Y., 15,000.
Omaha, Neb., 8,000.
Tacoma, Wash., 12,000.
Kansas City, Mo., 11,000.

Typical Schumann-Heink Headlines

Great Mother Heart of Schumann-Heink Thrills Vast Throng.—
San Diego Union, May 27, 1918.

Vast Audience Thrilled and Inspired by Wonderful Schumann-Heink.—
Portland Daily Eastern Argus, November 22, 1918.

Schumann-Heink Draws Dollars for Red Cross.—
San Francisco Chronicle, May 24, 1918.

Schumann-Heink Has Wonderful Reception.—
Bangor Daily News, November 19, 1918.

Army Mother Also Mother of Navy—Schumann-Heink is Toasted.—
New York American, July 3, 1918.

Madame Schumann-Heink Gets Ovation—Received with Delight.—
Pittisburgh Gazette-Times, November 29, 1918.

An audience that packed the Metropolitan Theatre from stage to gallery was thrilled by the Schumann-Heink voice and enchanted with her magnetic personality. It is always so when Schumann-Heink comes. Her public loves her—loves her art, her Americanism, and, above all, the great mother heart of her.—
Seattle Daily Times, January 23, 1919.

Schumann-Heink's voice has lost none of its virility and beauty, and her interpretations are inimitable.—
New York Herald.

We never have heard Mme. Schumann-Heink deliver herself of singing more beautiful as to tone and more convincing as to interpretation.—
Chicago Record Herald.

Schumann-Heink has rarely been in better voice, which means that her singing reaches the souls of her hearers, leaving a vivid impression of the greatness of song singing.—
New York Press.

Criticism of Schumann-Heink said the Brooklyn Citizen in a recent review, is somewhat like criticism of the sky or sea; she soars at her usual height, beautifully oblivious to whatever might be said of her. Certainly the noted prima donna still holds her dominant sway of pre-eminence among the world's song birds.

Schumann-Heink Makes Records for the Victor Company Exclusively
You will enjoy hearing these Schumann-Heink Records. Your nearest Victor Dealer will gladly play them for you.

Number

Angus Dei (Lamb of God) In Latin
Bizet
88416

Allah
Longfellow–Geo. W. Chadwick
87172

Before the Crucifix
Gabriele Wrede–Frank La Forge
88548

Child's Prayer, A
Brandon–Harold
87094

Cry of Rachel
Reese–Salter
88336

Danny Boy
Fred E. Weatherly
88592

Erkennen, Das (Recognition)
Loewe
88550

Erlk⁁nig (The Erlking)
Schubert
88342

Es ist bestimmt in Gottes Rath (It is Ordained)
Mendelssohn
88155

Frühlingszeit (Springtide)
Becker
87012

His Lullaby
Carrie Jacobs-Bond
88118

Irish Love Song
Margaret Lang
87022

I und mei Bua (I and My Boy) Yodel Song
Millöcker
88139

Just Before the Battle, Mother
Geo. F. Root
87282

Kerry Dance, The
Molloy
88451

Leggiero invisible (Bolero, Oh, Light Invisible) In Italian
Arditi
88093

Lorelei—Volkslied (The Loreley)
Friedrich Silcher
88547

Lucrezia Borgia—Trinklied (It is Better to Laugh)
Donizetti
88188

Mignon—Kennst du das Land? (Knowest Thou the Land?)
Thomas
88090

Mondnacht (Moonlight)
Schumann
88197

Mother Sings, The (Die Mutter singt)
Grieg
87240

Nearer My God to Thee
Adams–Mason
87280

One Sweetly Solemn Thought
Carey–Ambrose
88549

Onward Christian Soldiers
Baring-Gould–Sullivan
87298

Orfeo—Ach, Ich habe sie verloren (I Have Lost My Eurydice)
Gluck
88091

Prophète—Prison Scene, Part II In French
Meyerbeer
88095

Prophète—Ah! mon fils (My Son) In French
Meyerbeer
88187

Rheingold—Weiche, Wotan, weiche (Waver, Wotan)
Wagner
88092

Rinaldo—Lascia ch'io pianga (My Tears Shall Flow) In Italian
Handel
88189

Robin Sings in the Apple Tree
Edward MacDowell
87171

Rosary, The
Ethelbert Nevin
88108

Rosary, The
Ethelbert Nevin
87221

Samson und Dalila—Der Frühling erwachte (Delilah's Song of Spring)

88417

Samson und Dalila—Mein Herz (My Heart at Thy Voice)
Saint-Saëns
88190

Sapphische Ode (Sapphic Ode) (Op. 94, No. 4)
Brahms
87239

Spinnerliedchen—Spinning Song
Reimann
87124

St. Paul—But the Lord is Mindful of His Own
Mendelssohn
88191

Stille Nacht, heilage Nacht (Silent Night)
Gruber
88138

Sun of My Soul
Keeble–Ritter
87302

Taps
Musical Setting by Pasternack
87299

Tod und das Madchen, Der (Death and the Maiden)
Schubert
87013

Träume (Dreams)
Wagner
88343

Treue Liebe (True Love)

87021

Trovatore—Ai nostri monti (Home to Our Mountains) Italian
(with Caruso)
89060

Von Himmel hoch da komm 'ich her (Christmas Hymn)
Martin Luther
88381

Wanderers Nachtlied (Wanderer's Night Song) (with Farrar)
Rubinstein
87504

When the Boys Come Home
Hay–Speaks
87295

When the Roses Bloom
Reichardt
87129

Wiegenlied (Cradle Song)
Johannes Brahms
87241

VICTOR TALKING MACHINE COMPANY, Camden, N. J.

Victor

Figure

HIS MASTER'S VOICE
REG.U.S.PAT.OFF.

4700 8-16-19 rtxa

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Title	Madame Schumann-Heink
Date Original	1919
Topical Subject (LCTGM)	Opera singers
Personal Name Subject	Schumann-Heink, Ernestine
Chronological Subject	1910-1920
Type (DCMIType)	Text Still image
Type (AAT)	Brochures Promotional materials
Type (IMT)	jpeg
Digital Collection	Traveling Culture: Circuit Chautauqua in the Twentieth Century
Contributing Institution	University of Iowa. Libraries. Special Collections Dept.
Archival Collection	Redpath Chautauqua Collection
Subcollection	Chautauqua Brochures
Collection Guide	http://lib.uiowa.edu/collguides/?MSC0150
Collection Identifier	MSC0150
Rights Management	Educational use only, no other permissions given. U.S. and international copyright laws may protect this digital image. Commercial use or distribution of the image is not permitted without prior permission of the copyright holder.
Contact Information	Contact the Special Collections Dept. at The University of Iowa Libraries: http://www.lib.uiowa.edu/spec-coll/contact/index/
Height (cm)	20
Number of Pages	4
Digitization Specifications	Scanned at 600 dpi, 32-bit color. Master image available in tiff format.
Date Digital	2001

Title	Page 1
File Name	schumannh0101.jpg
Full Text	1919 Figure © HALL Madame Schumann-Heink THE WORLD RENOWNED CONTRALTO AUGUSTANA COLLEGE AUDITORIUM Thursday Eve., October 30th PRICES: 75c., $1.00, $1.50 Auspices: AMOO GROTTO No. 57 MR. FRANK LA FORGE The Distinguished Composer, at the Piano Exclusive Management: Haensel & Jones, Aeolian Hall, New York Steinway Piano Used by Madame Schumann-Heink Schumann-Heink CONTRALTO THERE is but one Schumann-Heink and the glory of her art can never be put into words. The world knows her and marvels at her; thousands upon thousands worship her; all hearts are gladdened by her presence and warmed by the infinite love that radiates from her generous spirit. Few artists, native or foreign, have ever grown into closer touch with American audiences and American institutions than this remarkable contralto; she has blazed the musical trail through many remote and unexplored quarters of our country, opening the way for other concerts and awakening an interest in the best of art. She has succeeded in arousing a love for classical songs among the masses, an accomplishment in itself that entitles her to lasting gratitude. Of her work in this country, her associations, her citizenship and the affection she has received, Schumann-Heink is indeed proud. It is in this country of which she has been a citizen for many years that Schumann-Heink has found her greatest success and warmest welcome and it is in this country that her heart is. If any more conclusive proof were needed than the fact that she gave four of her sons to fight with the American forces in the late war, it could be found in the resumé of her patriotic activities during the past season. Giving up all of her professional engagements for several months, Schumann-Heink, The Greatest Mother in America as she has been called by her boys—the American soldiers—has devoted her entire time and energy to singing at the various cantonments—to speaking and singing for the Red Cross, the Liberty Loan and other patriotic drives, and, in short—to giving herself without stint to the great cause for which America and her Allies fought. Hundreds of thousands of American soldiers to whom the name Schumann-Heink means Friend, Mother and in the case of at least one regiment, Colonel, has gone over the seas better fighters and finer men because of the inspiration and love of this wonderful woman. It is a mutual admiration—that between Schumann-Heink and the American soldiers, for one has only to mention our boys in her presence to have her enthusiastically exclaim—They are the most wonderful boys in the world. They have youth, enthusiasm, spirit and courage—what power can stand against these! Of the boys feeling for her, nothing could be more typical than this little note received by the great contralto after one of her recent cantonment concerts:—Dear Madame Schumann-Heink: I wonder if you know how we rookies love you? (Signed) One of Them. Some Record Breaking Audiences Oakland, Cal., 35,000, June 9, 1918. Ocean Grove, N. J., 10,000. San Diego, Cal., 25,000. Salt Lake City, 10,000. Trenton, N. J., 9,000. Brooklyn, N. Y., 15,000. Omaha, Neb., 8,000. Tacoma, Wash., 12,000. Kansas City, Mo., 11,000. Typical Schumann-Heink Headlines Great Mother Heart of Schumann-Heink Thrills Vast Throng.— San Diego Union, May 27, 1918. Vast Audience Thrilled and Inspired by Wonderful Schumann-Heink.— Portland Daily Eastern Argus, November 22, 1918. Schumann-Heink Draws Dollars for Red Cross.— San Francisco Chronicle, May 24, 1918. Schumann-Heink Has Wonderful Reception.— Bangor Daily News, November 19, 1918. Army Mother Also Mother of Navy—Schumann-Heink is Toasted.— New York American, July 3, 1918. Madame Schumann-Heink Gets Ovation—Received with Delight.— Pittisburgh Gazette-Times, November 29, 1918. An audience that packed the Metropolitan Theatre from stage to gallery was thrilled by the Schumann-Heink voice and enchanted with her magnetic personality. It is always so when Schumann-Heink comes. Her public loves her—loves her art, her Americanism, and, above all, the great mother heart of her.— Seattle Daily Times, January 23, 1919. Schumann-Heink's voice has lost none of its virility and beauty, and her interpretations are inimitable.— New York Herald. We never have heard Mme. Schumann-Heink deliver herself of singing more beautiful as to tone and more convincing as to interpretation.— Chicago Record Herald. Schumann-Heink has rarely been in better voice, which means that her singing reaches the souls of her hearers, leaving a vivid impression of the greatness of song singing.— New York Press. Criticism of Schumann-Heink said the Brooklyn Citizen in a recent review, is somewhat like criticism of the sky or sea; she soars at her usual height, beautifully oblivious to whatever might be said of her. Certainly the noted prima donna still holds her dominant sway of pre-eminence among the world's song birds. Schumann-Heink Makes Records for the Victor Company Exclusively You will enjoy hearing these Schumann-Heink Records. Your nearest Victor Dealer will gladly play them for you. Number Angus Dei (Lamb of God) In Latin Bizet 88416 Allah Longfellow–Geo. W. Chadwick 87172 Before the Crucifix Gabriele Wrede–Frank La Forge 88548 Child's Prayer, A Brandon–Harold 87094 Cry of Rachel Reese–Salter 88336 Danny Boy Fred E. Weatherly 88592 Erkennen, Das (Recognition) Loewe 88550 Erlk⁁nig (The Erlking) Schubert 88342 Es ist bestimmt in Gottes Rath (It is Ordained) Mendelssohn 88155 Frühlingszeit (Springtide) Becker 87012 His Lullaby Carrie Jacobs-Bond 88118 Irish Love Song Margaret Lang 87022 I und mei Bua (I and My Boy) Yodel Song Millöcker 88139 Just Before the Battle, Mother Geo. F. Root 87282 Kerry Dance, The Molloy 88451 Leggiero invisible (Bolero, Oh, Light Invisible) In Italian Arditi 88093 Lorelei—Volkslied (The Loreley) Friedrich Silcher 88547 Lucrezia Borgia—Trinklied (It is Better to Laugh) Donizetti 88188 Mignon—Kennst du das Land? (Knowest Thou the Land?) Thomas 88090 Mondnacht (Moonlight) Schumann 88197 Mother Sings, The (Die Mutter singt) Grieg 87240 Nearer My God to Thee Adams–Mason 87280 One Sweetly Solemn Thought Carey–Ambrose 88549 Onward Christian Soldiers Baring-Gould–Sullivan 87298 Orfeo—Ach, Ich habe sie verloren (I Have Lost My Eurydice) Gluck 88091 Prophète—Prison Scene, Part II In French Meyerbeer 88095 Prophète—Ah! mon fils (My Son) In French Meyerbeer 88187 Rheingold—Weiche, Wotan, weiche (Waver, Wotan) Wagner 88092 Rinaldo—Lascia ch'io pianga (My Tears Shall Flow) In Italian Handel 88189 Robin Sings in the Apple Tree Edward MacDowell 87171 Rosary, The Ethelbert Nevin 88108 Rosary, The Ethelbert Nevin 87221 Samson und Dalila—Der Frühling erwachte (Delilah's Song of Spring) 88417 Samson und Dalila—Mein Herz (My Heart at Thy Voice) Saint-Saëns 88190 Sapphische Ode (Sapphic Ode) (Op. 94, No. 4) Brahms 87239 Spinnerliedchen—Spinning Song Reimann 87124 St. Paul—But the Lord is Mindful of His Own Mendelssohn 88191 Stille Nacht, heilage Nacht (Silent Night) Gruber 88138 Sun of My Soul Keeble–Ritter 87302 Taps Musical Setting by Pasternack 87299 Tod und das Madchen, Der (Death and the Maiden) Schubert 87013 Träume (Dreams) Wagner 88343 Treue Liebe (True Love) 87021 Trovatore—Ai nostri monti (Home to Our Mountains) Italian (with Caruso) 89060 Von Himmel hoch da komm 'ich her (Christmas Hymn) Martin Luther 88381 Wanderers Nachtlied (Wanderer's Night Song) (with Farrar) Rubinstein 87504 When the Boys Come Home Hay–Speaks 87295 When the Roses Bloom Reichardt 87129 Wiegenlied (Cradle Song) Johannes Brahms 87241 VICTOR TALKING MACHINE COMPANY, Camden, N. J. Victor Figure HIS MASTER'S VOICE REG.U.S.PAT.OFF. 4700 8-16-19 rtxa

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Madame Schumann-Heink

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