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Figure Photo Victor Georg HELENA MARSH Contralto MANAGEMENT: METROPOLITAN MUSICAL BUREAU 33 West 42nd Street, New York City HELENA MARSH H ELENA MARSH, the young contralto of the Metropolitan Opera Company, is another example of an American singer who, without money and influence, has been able by hard work and sheer merit, to force her way forward to the front rank of her profession. Born in the little town of Corinth, Saratoga County, N. Y., Miss Marsh received an heritage of musical genius from her mother, who was a brilliant pianist and singer. When a small child she studied the violin as a pupil of the late Henry W. Schradieck. As is so often the case with young students of instrumental music, Miss Marsh preferred to be a singer; a preference not to be wondered at considering that nature had endowed her with a rich and colorful contralto voice. Without funds and small encouragement from her relatives—her mother died when she was thirteen—Miss Marsh began her career as a singer in a modest church in northern New York. Her earnings were so limited that she was compelled to play the violin at the same time to support herself. At a critical moment in her career, Miss Marsh became a student of Madame Renard, and from that moment her musical education received an impetus which has carried her to her present position. Two years ago at an audition before Signor Gatti-Casazzi, General Manager of the Metropolitan Opera Company pronounced her voice as one of rare quality and one of the most beautiful he had ever heard, and immediately engaged her. In addition to this natural voice of surpassing beauty, Miss Marsh is one of the most comely women on the concert stage today. No better description of her voice and art has been written than that in the Utica (N. Y.) Observer under date of April 8, 1920, following a recital by her before the B Sharp Music Club of that city: Seldom has a more beautiful contralto voice been heard in this city, or has a woman of more appealing stage presence and charm of manner appeared before a Utica audience. Her voice is distinguished by a depth of tenderness, and organ-like richness which leaves little to be desired. Many recalled last evening with a feeling of pride that here was a genuine American singer who has come up to the very front in the world of music. In fact, Helena Marsh, still in her early twenties, has arrived. That she had indeed arrived was again proven at the great Lewisohn Stadium of the College of the City of New York last summer, where Miss Marsh sang as soloist with the National Symphony Orchestra, Walter Henry Rothwell conducting, before an enormous audience of 6,000. In diction, volume and beauty of tone the young singer again triumphed, notwithstanding this was her first appearance out of doors. COMMENT OF THE PRESS New York (N. Y.) Herald, Feb. 9, 1919 MISS HELENA MARSH, AN AMERICAN CONTRALTO, SANG FOR THE FIRST TIME WITH THE METROPOLITAN OPERA COMPANY AS THE MUSICIAN IN 'MANON LESCAUT.' SHE HAS A GOOD VOICE AND SANG THE SHORT ROLE CREDITABLY. New York (N. Y.) Tribune, December 4, 1919 THERE WAS ALSO A NEW SINGER IN THE PART OF THE UNSEEN SHEPHERD. SHE WAS MISS HELENA MARSH, AND HER PLEASING VOICE MADE ONE WISH THAT THE PART MIGHT HAVE BEEN BOTH VISUAL AND LONGER. The Morning (N. Y.) Telegraph, March 24, 1919 THE RADIANT YOUNG CONTRALTO 'WON ALL THE WAY' FROM HER INSTANT CAPTURE OF HER AUDIENCE WITH A GLEAMING SINGING OF 'VOCE DI DONNA' FROM 'LA GIOCONDA,' TO THE LAST SONG—KOEMMENICH'S DIAPHONOUS 'AIR LIKE A BUTTERFLY'—FROM HER CONCLUDING GROUP OF LYRICS. UPSPRINGING FREEDOM OF UTTERANCE, TONES CRISPLY FRESH, AS MOIST AS FLOWERS AND OF GREAT TENDERNESS, MARKED IN HER SINGING IN EVERY NUMBER, AND THE RECOGNITION OF HER SPLENDID PERFORMANCE WAS INSTANTANEOUS AND EMPHATICALLY EXPRESSED. Utica (N. Y.) Daily Press, April 8, 1920 THE SINGING OF MISS MARSH LIKEWISE FOUND HIGH FAVOR WITH THE AUDIENCE. IT INCLUDED VIRTUALLY TWO REGISTERS. HUSKILY RICH AND RESONANT IN HER CONTRALTO, SHE SANG AT WILL IN A HIGHER, AT TIMES ALMOST ATTENUATED, LYRICAL SOPRANO, THAT COULD BE MADE TO DESCEND ALMOST IMPERCEPTIBLY TO THE TONES OF HER LOWER REGISTER, WHERE ORGAN-LIKE EFFECTS WERE DUPLICATED. HER SINGING WAS HIGHLY COLORFUL, AND YET EASY, COMFORTABLY PLACID, AND OF ALL HER SELECTIONS THOSE EXPRESSING SOME LOW PITCHED DEEP EMOTION, TENDER OR RELIGIOUS, WERE UNDOUBTEDLY MOST PLEASING. The Daily Home News, New Brunswick (N. J.) Feb. 27, 1919 MISS MARSH'S CONTRALTO VOICE WAS ONE OF UNUSUAL DEPTH AND HER RANGE EXTENSIVE. HER SINGING WAS CAREFUL AND ARTISTIC. SHE IS YOUNG TO HAVE TAKEN THE PLACE SHE ALREADY HAS ON THE METROPOLITAN OPERA STAGE. The Paterson (N. J.) Morning Call, April 26, 1920 SHE ALSO OFFERED A PROGRAM OF MERIT AND WAS HEARTILY APPLAUDED. The Paterson (N. J.) Press-Guardian, April 26, 1920 SHE IS A WOMAN OF SPLENDID STAGE APPEARANCE AND POSSESSES A MELLOW CONTRALTO VOICE, WHICH HAS A STRONG APPEAL ON HER LISTENERS. The Scranton (Pa.) Republican, Feb. 25, 1919 MISS HELENA MARSH IS A JOY FOREVER. A BIJOU OF A GIRL, SLIM, DAINTY, ALMOST SPIRITUELLE IN EXPRESSION, SHE CAPTIVATED HER AUDIENCE BY HER PERSONALITY AS WELL AS HER VOICE. SHE WORE WHITE SATIN IN PANEL EFFECT, ODDLY COMBINED WITH A FILMY GOLD LACE COAT AND SASH ENDS OF BLUE. NOT SOON WILL BE FORGOTTEN HER 'LUNGI DAL CARE BENE' OF SECCI, WITH ITS RICH LOWER NOTES, OR THE PASSIONATE 'IN A PRISON' BY PIAZZI NOR YET THE EVER BELOVED 'BEFORE A CRUCIFIX' LA FORGE. The Richmond (Va.) Times-Dispatch, April 30, 1918 MISS MARSH, LIKE THE OTHERS OF THE QUARTET, A NEW SINGER IN RICHMOND, MADE A SPLENDID IMPRESSION WITH HER PURE CONTRALTO QUALITY AND SINCERITY OF TREATMENT OF THE PARTS ALLOTTED TO HER.
|Title||Helena Marsh: contralto|
|Topical Subject (LCSH)||
|Personal Name Subject||Marsh, Helena|
|Digital Collection||Traveling Culture: Circuit Chautauqua in the Twentieth Century|
|Contributing Institution||University of Iowa. Libraries. Special Collections Dept.|
|Archival Collection||Redpath Chautauqua Collection|
|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/|
|Number of Pages||4|
|Digitization Specifications||Scanned at 600 dpi, 32-bit color. Master image available in tiff format.|