A Night of Grand Opera

              PERSONAL REPRESENTATIVE: ELENA de SAYN, 1728 N St., Washington, D. C.

ALICE EVERSMAN


UMBERTO SORRENTINO


NANA GENOVESE

A Night of Grand Opera
GIVEN BY


ALICE EVERSMAN, Dramatic Soprano
(Formerly Metropolitan and Chicago Grand Opera Company)
NANA GENOVESE, Mezzo-Contralto:
(Formerly Metropolitan and Manhattan Grand Opera Company)
UMBERTO SORRENTINO, Lyric Tenor
engaged for the Havana, Cuba, season May-June available in fall & summer
(Formerly Boston Grand Opera Company)
ELENA de SAYN, Russian Violin-Virtuosa

Individual Circulars Sent Upon Request


ELENA de SAYN


The artists are available jointly and individually

Sample Programs inside



IT is not usual that four artists par excellence combine their forces for the sake of giving the music lover a perfect concert or a perfect presentation of Grand Opera in concert form, or scenes therefrom.

The sample programs will give an idea of the variety of combinations, the amount of pleasure which can be obtained and the educational value derived.

Scenes from different operas sung by soprano and tenor, soprano and contralto and contralto and tenor, songs of all lands, entire programs of American composers and children songs can be presented in an untold variety.  Due consideration is given to the personal choice of an organization.

Experience and individual attainments of Mme. Alice Eversman, Mme. Nana Genovese, Sig. Umberto Sorrentino and Elena de Sayn give sufficient evidence of the high standard of their art, and need no further introduction.  The purpose of the company is to create a better understanding of music, to make the message of each musical composition clear and comprehensible and to stir the noblest emotions in the listener.  Unity of purpose for art's sake and not art as a means of personal glorification of the individual, is the motto of the company.

Last but not least, Mr. Waldemar Liachowsky, artist-accompanist who toured Europe and America with all celebrities of the past decade (Kreisler, Heifetz, Elman, Tilly Koennen, etc.) a master in his line, is the indispensible link for the creation of a perfect ensemble and harmony.

In cases where a production of an entire opera is desired, the services of Sig. MILLO PICCO, leading baritone of the Metropolitan Opera, will be secured.

ALICE EVERSMAN, dramatic soprano, whose name has been identified for several years with the Metropolitan and the Chicago Grand Opera Companies, won national fame by singing the title role of Aida with the latter organization on a minute's notice.  She studied under famous masters in America and Europe, where she made her debut.  Mme. Eversman's voice is lyric-dramatic with a warmth of tone that lends itself to a variety of expression.  The opinion of the leading critics is unanimous on its brilliancy and power, the exquisite delicacy of her interpretation, her individuality and style.

NANA GENOVESE, prima donna contralto, combines a magnetic personality with a beautiful, well schooled voice and is remembered as one of the younger singers of the former Manhattan Opera Company.  She has been also a member of the Metropolitan and the San Carlo Grand Opera Companies and is known as a concert singer as well.  Her recitals in New York City and other musical centers have created a great deal of interest.  She participated in festivals and other large musical events.  As to her immediate success with the audiences the following may be quoted: I heard Mme. Genovese in Springfield, Mass., in a concert preceding that of Anna Case.  Mme. Genovese took her audience by storm, receiving a larger ovation than Anna Case.—(Signed) Walter Greenwood, Director of Music, Elon College, N. C.

Among the singers of the sterner sex who have merited distinction, the name of UMBERTO SORRENTINO occupies a conspicuous rank.  In Italy, critics have delighted to tell their readers that Sorrentino is an artist who has the power to thrill one evening as Canio in Pagliacci; on a second evening as Cavaradossi in La Tosca, or as Nemorino in Elisir d'Amore; again, on another occasion, to appear calmly on the unadorned platform of the concert hall and uplift the assemblage by his poetic rendition of songs.  Sig. Sorrentino sings with dramatic fervour, his voice, ample in volume, has a suave quality and a legato that few tenors can boast of.  He toured America from coast to coast, sang in opera and recital and appeared as a soloist with many leading orchestras.

ELENA de SAYN, violin-virtuosa, a native of Russia, is a familiar figure on the American platform.  She scored success in twenty-eight States after having won recognition in Russia, England and Germany.  She appeared before members of the Russian Imperial Family and at various Courts of Germany.  Her father was a distinguished general in the Czar's Army and a descendant of a very old and illustrious family.  The American and European press is unanimous on her artistry, the strength and purity of her luscious tone, the intelligent significance of her interpretation, her technic and the element of refinement which always characterizes her playing.




FOUR ARTISTS

EVERSMAN.
SORRENTINO.
GENOVESE.
DE SAYN.

Program given at Norfolk, Va., Women's Club (Armory), Chapel Hill, University of North Carolina, etc.


PROGRAM.


Faust—Fantasie for violin

Wieniawski



ELENA DE SAYN.



Queen of Sheba—Aria

Gounod



ALICE EVERSMAN.



Ridi Pagliaccio—Aria

Leonacavallo



UMBERTO SORRENTINO.



Le Prophete—Aria

Myerbeer



NANA GENOVESE.




INTERMISSION.



Cavalleria Rusticana

Opera by Mascagni



First scene in costumes.




Intermezzo played by ELENA DE SAYN.




FOUR ARTISTS

EVERSMAN.
SORRENTINO.
GENOVESE.
DE SAYN.

OR:


PROGRAM.


Faust—Fantasie

Weniawski



ELENA DE SAYN.



Mme. Butterfly—Aria

Puccini



ALICE EVERSMAN.



Manon—Aria

Massenet



UMBERTO SORRENTINO.



Don Carlos—Aria

Verdi



NANA GENOVESE.




INTERMISSION.



Scene and duet—Carmen

Bizet



MME. GENOVESE AND MR. SORRENTINO.



(a) Romance

Bossi


(b) Scene Bachique

Bossi



ELENA DE SAYN.



La Gioconda—Trio

Ponchielli



MMES. EVERSMAN AND GENOVESE,
UMBERTO SORRENTINO.







THREE ARTISTS

EVERSMAN.
GENOVESE.
DE SAYN.

Program given at Concord, N. C., Women's Club, Hendersonville, N. C., Fassifern School, etc.


PROGRAM.


Faust—Fantasie for violin

Wieniawski



ELENA DE SAYN.



Queen of Sheba—Aria

Gounod



ALICE EVERSMAN.



Le Prophete—Aria

Myerbeer



NANA GENOVESE.




INTERMISSION.



Scene and duet—Mme. Butterfly

Puccini



MMES. EVERSMAN AND GENOVESE.



(a) Berceuse (manuscript)

Walter Golz


(b) Russian Fantasie

Vieuxtemps



ELENA DE SAYN



Scene and duet—Aida

Verdi



MMES. EVERSMAN AND GENOVESE.







JOINT RECITAL
EVERSMAN AND DE SAYN.

Program given at The Congressional Club of Washington, D. C., and en tour through seven States.


PROGRAM.


Chaconne

Vitalli



ELENA DE SAYN.



Vissi d'Arte Tosca

Puccini



ALICE EVERSMAN.



(a) En Bateau

Debussy


(b) Guitar

Moszkowski



ELENA DE SAYN.



(a) La Cloche

Saint-Saens


(b) Paysage

Reynaldo Hahn


(c) The Dragon

Arensky


(d) Before My Window

Rachmaninoff


(e) Floods of Spring

Rachmaninoff



ALICE EVERSMAN.



Havanaise

Saint-Saens



ELENA DE SAYN.



(a) Morning

Lehman


(b) Bitterness of Love

Dunn


(c) My Lovely Rose

Cadman


(f) Rain

Curran


(g) Ecstasy

Rummel



ALICE EVERSMAN.



Duets for Voice and Violin—




(a) Stances

Flegier


(b) Le Nil

Leroux


(c) Springsong

Weil



ALICE EVERSMAN AND ELENA DE SAYN.








RECITAL BY NANA GENOVESE
Town Hall, October 24, 1923, New York City.


PROGRAM.


1.
(a) Lungi dal Caro Bene
Secchi



(b) Al Dolce Guidami (Anna Bolena)
Donizzetti



(c) Quella Fiamma Che m'Accende
Marcello


2.
Preludio e Allegro—For violin.
Pugnani-Kreisler


3.
(a) Heart to Heart
J. P. Dunn



(b) The Voice
C. Warford



(c) The Pine Tree
Mary Turner Salter



(d) Charity
R. Hageman



(c) The Great Awakening
W. Kramer


4.
Introduction and Humoresque—For violin—
D'Ambrosio


5.
(a) Tanto c'e Pericolo ch'io vi Lasci (Rispetto)
Wolf-Ferrari



(b) Io son l'Umile Ancella—From Adriana Lecouvreur
Cilea



(c) Portami Lassu
Tirindelli






RECITAL BY UMBERTO SORRENTINO
Maryland School for the Blind, November 13, 1913, Baltimore, Md.



1.
(a) Se tu m'Ami (1710–1736)

G. B. Pergolese



(b) Pur Dicesti Bocca Bella (1667–1740)—

A. Lotti



(c) Lascia Che io Piango

Gluck


2.
(a) Phidyle

Duparc



(b) Romance

Debussy



(c) Elegie

Massenet



(d) Reve de Des Grieux (Manon)

Massenet


3.
(a) Oh, Promise Me

De Koven



(b) Swing Low, Sweet Chariot

H. T. Burleigh



(c) Berceuse

d'Hardellot


4.
(a) Baci d'Amore

A. Mirellis




(Dedicated to Sig. Sorrentino.)



5.
(a) Clavellitos

Valverde



(b) Tarantella

De Crescenzo





VIOLIN RECITAL BY ELENA de SAYN
In the leading Colleges through the South.


PROGRAM.


Sonata, G Minor

Haendel



Andante.




Allegro.




Adagio.




Allegretto.



Poème Lyrique

Tscherepnine


(a) Liebesfreud

Kreisler


(b) Caprice Viennois

Kreisler


(c) Tambourin—Chinois

Kreisler


(a) Romance

Bossi


(b) Guitar

Moszkowski


(a) En Bateau

Debussy


(b) Variations sur un Theme Russe

Vieuxtemps






RECITAL BY ALICE EVERSMAN
Columbia University, New York City, and en tour through the East.



Sotto il Ciel
Sibella


Ninon
Tosti


Si j'etais Jardinier
Chaminade


J'ai pleure en reve
Hue


Les Papillons
Chausson


Arietta
Vidal


Di Lorelei
Liszt


Feldeinsamkeit
Brahms


Botschaft
Brahms


Der Freund
Hugo Wolf


Er Ist's
Hugo Wolf


The Sleeping Prinzess
Borodine


The Beetle
Moussorgsky


Lilacs
Rachmaninoff


Spring
Arensky


Life
Curran


Spring of Rosemary
Koemmenich


The Lute in the Grass
Turner Maley


Song of Sunshine
Turner Maley


Twilight
Walter Morse Rummel


Last Hour
Kramer


Joy
Kramer