William Wade Hinshaw

              Figure
William Wade Hinshaw



Figure
Mr. Hinshaw as Wolfram in 
Tannhauser



Of the principals, the honors of the evening belong to Hinshaw, who sang the role of Wolfram exceedingly well.  His tone emission is the easiest and most natural imaginable—there is never a suspicion of effort even in the extreme upper tones of his mellow voice, and especially in the noble measures which fall to Wolfram was the breadth and dignity of his phrasing apparent.  The first act, his work in the tournament of song, and the 
Evening Star,
 were alike fine examples of the bel Canto.—


St. Louis Mirror.



Figure
Diavolo in 
Fra Diavolo



Hinshaw's splendid singing and easy, graceful impersonation of the unscrupulous bandit, Diavolo, were well deserving the liberal recognition they received.  He is one of the few artists who sings as though singing were a pleasure.  His big, resonant voice is always under perfect control and ready for any and every demand which may be made upon it.  His famous song, 
A Brigand's Life's the Life for Me,
 introduced in the third act, was greeted with a storm of applause which necessitated a repetition of the lively, rollicking refrain, while the 
Serenade,
 and 
Proudly and Wide my Standard Flies
 were superbly sung.—


St. Louis Globe-Democrat.



When Mr. Hinshaw came on as the Student, it was easy to see that there was a large contingent of patrons of the Castle Square Company's winter season out in force.  Mr. Hinshaw was received tumultuously.  He responded in the characteristic way, by the best of good singing and an earnestness of portrayal of the dramatic phase of the part, which made it one of the features of the night.—


St. Louis Republic.




The plaintive song which Germont sings to bring back his erring boy, 
Hath Thy Home in Fair Province,
 was given beautifully by Mr. Hinshaw, who put a depth of feeling into it that moved all hearts.—


St. Louis Star.



The tense role of the Dutchman, condemned to live till he could find true and unselfish devotion in woman and continually disappointed, hating the unbreakable fetters of his mortality and, worst of all, despairing of finding positive good in humanity was taken by Mr. William Wade Hinshaw, baritone.  His voice is large, resonant and eminently suited to the part and moreover he has a great measure of dramatic sensibility which would permit his sympathizing with the terrible bitterness and despairing hope of the unfortunate Dutchman.  His great number was the opening reverie of the Dutchman wherein he reviews his situation and next to that, his trio with Senta and Erik, wherein he decides not to bring his curse upon the woman he loves, even at the expense of forswearing his only hope of rescue.  In the love duo with Senta, also, Mr. Hinshaw made a strong impression.—


The Milwaukee Journal.



W. W. Hinshaw, as Count di Luna, was easily the feature of the 
Il Trovatore
 production.  He is at his best in roles of this kind and he even surpassed his triumphs of last season, where his good work with the Castle Square Company is so well remembered.—


New York Dramatic Mirror.



Mr. Hinshaw scored a great hit by his rendition of the 
Toreador's Song
 from 
Carmen.
  He had rounds of applause and numerous recalls.—


Chicago Journal.


Figure

The Dutchman in the 
Flying Dutchman



Figure
Escamillo in 
Carmen


Figure

Count Rudolph in 
La Sonnambula



Hinshaw as Count Rudolph set an example with his distinct articulation which should serve as a model to other members of the company who are not as careful in this respect as could be wished.  His singing was artistic, and in dignity of bearing he was above reproach.—


Chicago Times-Herald.


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Mephisto

Figure

Mephisto

Figure

Germont Sr. in 
La Traviata



Hinshaw as Mephisto gave his really best performance of the season.  He has been well coached in the business of the part by an adept in stagecraft, and, while the music is low for his voice, he sings it with a distinction which even the inevitable comparison with the only Plancon and the magnificent Edouard does not rob of its honors.—


St. Louis Mirror.



It is a pleasure to commend the Germont of W. W. Hinshaw, who as the father of Alfred must needs separate two loving hearts and assume the responsibility for all the consequent woe that dampened so many thousands of handkerchiefs in the sweet old solo, 
My son, come home,
 in the second act.  Mr. Hinshaw had the most marked applause of the evening.—


St. Louis Republic.





Hinshaw sings the Count di Luna's music superbly and there is a compelling authority about his work that seems to affect the singers and audience alike, for whenever he is on the stage his voice and presence dominate the scene.  Hinshaw is a rare vocal artist.


New York World.


Figure

Count di Luna in 
Il Trovatore


Figure

Simon in 
Beggar Student


Figure

Mephisto


And there was the added interest of a new singer.  W. W. Hinshaw made his first appearance with the company, as the Marquis.  There was no hesitation in the work of this singer.  He knew apparantly[sicapparently] what was required of him, and not only that, he knew how to do it.  Every number that fell to him was encored, not only once but three and four times.  Mr. Hinshaw should be satisfied with the impression he created.  Certainly the audience was.  This new member of the company is tall and broad and robust.  He has a rich baritone voice that is in keeping with his physical appearance.  He knows how to use the voice, too—as was demonstrated again and again as the individual numbers fell to him.—


Milwaukee Daily News.


Figure

The Marquis in 
Chimes of Normandy


Figure

Mephisto


Figure
Caspar in 
Der Freischutz



Hinshaw made a brawny and vigorous Caspar, singing the sonorous music superbly and acting the part well, too.  Hinshaw is an acquisition the company has cause to plume itself upon.—


Amy Leslie in Chicago Daily News.




Mr. Hinshaw in Oratorio



In the part of 
Jesus
 in Elgar's 
Apostles,
 given by the Apollo Club of Chicago, April 23, 1906:




Mr. Hinshaw, in the part of Jesus, sang most effectively and with much refinement and a certain dignity of style, especially in the declamation of the Beatitudes.—


Geo. P. Upton in The Chicago Daily Tribune, April 24, 1906.




The music assigned to Jesus fell to William W. Hinshaw, baritone, who gave it expressively and with dignity.—


Albert C. Wilkie in The Daily News, Chicago, April 24, 1906.




Mr. Hinshaw gave the part of Jesus a quiet dignity that was most effective.—


L. M. McCauley in The Chicago Evening Post, April 24, 1906.




In the part of Jesus, W. W. Hinshaw sang with most telling effect, investing it with the nobility and dignity demanded.  Difficult and thankless though the music is, Mr. Hinshaw surmounted all the vagaries of style which abound in the baritone role and gave a remarkably finished performance, so note-perfect indeed that the score was not needed.—


Florence French in The Musical Leader and Concert Goer, April 26, 1906.




In the bass role of the 
Messiah
 given by the Apollo Club of Los Angeles, December 26, 1905:





(Mr. Hinshaw has been reengaged by this Club for the same production December 14, 1906.)


Never has 
The Trumpet Shall Sound
 been delivered here with finer or more impressive effect than was done by the bass, Mr. William Wade Hinshaw.  He is possessed of a resonant, mellow voice of most pleasing quality.  His reading and the vocal phrasing of his part were both engaging and musicianly.  The trying 
Why Do the Nations
 was sung smoothly, with a clear presentation of the florid passages, and a good effect was secured by him in 
The People that Walked in Darkness.
—



The Evening News, Los Angeles, December 27, 1905.




Of the soloists, the visitor was Mr. W. W. Hinshaw of Chicago.  He gave the best example of male voice singing that has been heard in oratorio in Los Angeles in recent years.  His commanding presence and physical reserve power, combined with a beautifully handled voice and an intimate acquaintance with the requirements and traditions of oratorio made his work altogether acceptable.—


Los Angeles Express, December 27, 1905.




In the title role of 
The Flying Dutchman,
 given (in German) by the Musikverein of Milwaukee, May 6, 1906 — (their 413th concert):




Bon ben Golisten jet in erster Linie ber Holländer ber Herrn William Hinshaw genant.  Der war eine recht brave Leistung.  Herr Hinshaw bersügt über einen großen sonoren Bariton von schöner Färbung und gutem Umsang.  Gtimmliche Unarten sielen mir teine ous, wohl aber erfreute mich bie beutliche und intelligente Biebergabe feines Deutich. Man tonnte extennen, baß ber herr nicht nur Gänger, sonbern auch bensender Nünftler ist. Uuch über eine tüchtige Bortion bramatischer ßestaltungstrait versügt herr hinshaw.—


Germania-Ubendpost, Milwaukee, Moutag, ben 7. Mar 1906.




On the meeting of the Dutchman and Senta, the former personated by Mr. William Wade Hinshaw, the orchestra supplies the supposed emotions of the mysterious stranger and the dreamy imaginative girl in a manner which bespeaks the method Wagner was afterwards to employ.  Mr. Hinshaw's singing was of a high order of merit.  His voice is rich, powerful and under excellent control.  The long solo in the first act showed many fine qualities, and the duet, 
Wie aus der Ferne,
 was one of the gems of the evening.—


The Evening Wisconsin, Milwaukee, May 7, 1906.




Of the soloist, Mr. William Wade Hinshaw, baritone, as the Hollander, satisfied fully the requirements of the part.  Mr. Hinshaw possesses a full, rich baritone and the voice is backed up by his heroic physique.  He reads and interprets intelligently and he emphasizes to the full the pathos of this one of Wagner's most ably conceived figures.—


The Sentinel, Milwaukee, May 7, 1906.




In the cantata, 
Of the Days of Germany's Regeneration
 given (in German) by the Musikverein of Milwaukee, November 12, 1906 — (their 415th concert).




Den Bogel schoß aber wohl boch ber Baritonsänger herr hinshaw ab. Er gebeitet über ein trästiges und ausbrndvolles Organ und Iöste seine schmere Uusgabe mit außerordentlichem Geschid und bester Routine.—


Germania-Ubendpost, Milwaukee, Dienstag, ben 13. Nov. 1906.




Of the soloists, Mr. W. W. Hinshaw, bass, deserves first mention, not only because of the difficult and prominent part which fell to his lot, but because of his thoroughly satisfactory way of singing.  He is the sort of artist for whom a stage full of chorus and orchestra has no terrors, but who, in the knowledge of his capability, enters with great spirit into his work and makes everybody, from conductor down to the snare drum player, feel at ease.  Nature has gifted Mr. Hinshaw with a big voice of pleasing quality, a voice which diligent study has trained to obey every demand.  Add to this a quick and unerring perception of what is musically right, a warm temperament and a loyal regard for the intentions of the composer and I have summed up the qualities which go to make that rare specimen:  a singer who is likewise a musician.




The audience was sometimes aroused by Mr. Hinshaw's powerful bass, but on the whole it was not forgetful of its reputation of being the most conservative on the face of this earth.—


Willy Jaffe in the Sentinel, Milwaukee, November 13, 1906.




Mr. W. W. Hinshaw, of Chicago, though last in mention, deserves first place.  His is one of the finest voices ever heard here — big, rich, musical and of exceptional range, his low tones having the depth and volume of a real bass voice.  In fact, there is a 
tonal splendor
 about it all that is immeasurably grateful in this day of small voices and indifferent schooling.  It is not too much to say that Mr. Hinshaw possesses many of the fine qualities that made some of the older singers famous.  He gave a convincing and most pleasing reading of all the numbers, and the spontaneous, vehement applause testified to the fine impression made, and was a splendid tribute to his powers, both as singer and musician.  His singing of 
Das Deutsche Reiche,
 (No. 19) was given with magnificent climatic effect.—


Helen Glenny in The Evening Wisconsin, November 13, 1906.






William Wade Hinshaw



William Wade Hinshaw could be an impersonator—but he does not stop with mere impersonation.




He could be an actor—but he does not confine his work to acting only.




He can lecture—on 
Universal Harmony,
 the 
Art of Musical Expression,
 
Interpretation,
 
Inspiration
 the 
Wagnerian Music Drama,
 and kindred subjects—but lecturing is not his major art.




He sings.




His voice in itself is inspiring—but to it he artfully adds the impersonation and action which make of his singing true and complete characterization.




His singing needs no interpretation—but his brief conversational explanations often prepare his auditors for a full and satisfying appreciation of songs that would otherwise be styled 
too classical.




He does not condescend to sing simple little things—he sings them without condescending.




Like all successful leaders and teachers he realizes that to lead and uplift he must first enable his followers to 
get hold.




He sings the 
Auld Plaid Shawl
 and 
Songs My Mother Taught Me
 with as much feeling and with as true an art as he sings the 
Toreador's Song
 from Carmen or the 
Serenade
 from Faust.




He can give an entire program in German, in French, in Spanish or in Italian.




But unless otherwise requested every song is sung in English—and his articulation is such that there can be no doubt as to its being English he is singing in.




In fact distinct articulation is one of the characteristics of his singing, and the story of the song is conveyed as clearly as if told in the speaking voice.




He is large and handsome and his size naturally creates an expectation for a big voice.




When heard his voice is bigger than was expected.




Nature never gave a man a more genial disposition, or a more admirable and striking personality.




It isn't along about the middle or last of the program that an audience begins to feel at home with him—it's the moment he appears upon the stage.




He is not only a singer but likewise a musician.




He began his professional career in Chicago in 1890, where for nine years he taught voice, conducted church choirs, sang in male quartettes, and studied the while.




He was engaged by Henry W. Savage in 1899 as leading baritone with the Castle Square Opera Company, singing for three seasons in Chicago, St. Louis and New York.




At the end of the third season he resigned his position with the Castle Square Company to establish the Hinshaw School of Music, which was afterwards combined with the Chicago Conservatory, he becoming president.  This position he still holds.




During the summer of 1904 he studied and sang in Germany where Felix Mottl, General Music Director of Royal Opera at Munich, encouraged him again to enter Grand Opera.





Song Recitals, Concerts, Oratorio, and Lectures



In no form of program does Mr. Hinshaw appear to better advantage than in his song recitals.  In these he sings some fifteen or twenty songs ranging in variety from the tender heart ballads that appeal to the masses, to the more pretentious selections that made him famous in Grand Opera.




For the season of 1907-'08 he will be available in Song Recitals with his own pianist; in Concerts with a soprano, or a violinist, or a 'cellist and pianist; in Oratorio with local organizations; and for Lectures.




For Chautauquas he is a most valuable man, where in addition to his own singing or lecturing he conducts a chorus, and if desired puts on a complete opera or oratorio with local talent.  His experience in Grand Opera, and in producing opera with the students in his school, enables him to accomplish phenomenal results in this line in a remarkably short time.




Address all business to LAURENCE TOM KERSEY, 55 Auditorium Building, Chicago




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