The joint recital

              191?

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In Joint Recital

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Evelyn Scotney Soprano
Howard White Basso Cantante



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HOWARD WHITE
Mr. Howard White is an American, born and educated in Providence, Rhode Island, where he graduated from Brown University in 1902.  He later took a course in law at the University of Pittsburgh and was admitted to the Bar of Pennsylvania in 1907.  After practising law for two years, he found the call of music too strong to resist, and, closing his office and selling his law books, he joined the Boston Opera Company just as it was beginning in 1909.  For the past five years he has been connected with this company but has had opportunity for a large amount of concert work including appearances in almost all the states of the Union and in Nova Scotia, New Brunswick and Newfoundland, in which his marked success demonstrates clearly that he has something his audiences like.  His voice is of virile yet sympathetic quality and extended range, and has been developed by the best of American and European schooling.  He has a large repertoire of songs, and operatic and oratorio arias to the rendition of which he brings excellent diction in English, French, German, and Italian, an attractive presence, a magnetic personality, a fine musicianship, and an intelligent and sympathetic understanding of the text.

Among his more recent Press Notices as a Concert Singer are the following:

Of his work as King Heinrich in Lohengrin the Chicago Inter-Ocean said Howard White revealed the possession of a beautiful bass voice with something of a clarinet quality in its eminently sympathetic timbre, and an evenness throughout its extended range that bespoke the best of schooling.  He was, in fact, one of the most satisfactory Kings heard here in recent years.

The Pittsburgh Dispatch said: Mr. White is eminently fitted for the operatic stage.  He has physique, sufficient voice, musicianship and brains — the sum and substance of operatic prerogative.  He gave to the part of the King a becoming majesty and dignity.

In speaking of his work as Plunkett in Martha last season at the Boston Opera House the Boston Transcript said in part The most finished work was Mr. White's Plunkett.  Always bumptious, yet engagingly human, he made the part hugely entertaining.  His singing of the English text was perfect.  Such a performance as his is the ultimate argument for opera in English.  A generation of English singers who can sing English as he can would put the question forever out of the region of controversy.


Mr. White opened the concert with a really noble rendition of the great aria from Der Freischutz.  Mr. White possesses a rich and sonorous bass voice of ample volume and capable of much beauty and delicacy of tone, and he uses it with unfailing artistic control and effect.  He delivered this Weber aria with a virility and power and smoothness of vocalization that at once established his distinction as a singer and artist.  In the group of four songs Mr. White displayed a lyric power of high order, with his breadth of phrasing sustained tones and sympathic interpretations.
Portland, Me, Daily Eastern Argus, Dec. 29, 1914.


Howard White has for some years been a favorite in this city and has shown steady development in his art and there is much pride felt here in his accomplishment and his success as a singer.  He has a fine deep basso voice, an unusually clear and distinct enunciation, a very enjoyable quality in his notes that cover a wide range and are solid and ringing.—
Providence Tribune, Jan. 1, 1915.




Press Notices

HAMILTON (ONTARIO) HERALD — APRIL 7th
Added to her wonderfully sweet and brilliant voice, she has a charming personality which endears her to her audience.  With a wonderful range, Madame Scotney has perfect and absolute control over her beautiful voice, the notes of which, in the upper register, may be compared to the notes of a silver bell.
Mr. White's voice is one of great richness and power, and was well suited to the songs which he had selected.  The first series comprised the Pilgrim's Song of Tschaikowsky, Mother O'Mine, by Tours, and the rollicking King Charles, by White, His sympathetic and powerful rendition of Mother O'Mine was able proof of his ability.



HAMILTON (ONTARIO) SPECTATOR — APRIL 7TH
No such sweet, clear, bird-like notes as her highest register produced have been heard in Hamilton in many a day, and, added to the beauty of voice is exquisite culture and pronounced beauty of face, form and figure, making a rare combination.  But it was her voice and singing that won for her the hearts of the audience last night.  Hers is the purest of sopranos, rich and true all through its range, soft and flexible, and particularly sweet at its highest.  She sang with the most consummate ease and grace and established herself as a favorite in Hamilton.  Her repertoire included a great variety of songs from the best classics to the simple Scotch songs, and in all she sang delightfully.
Mr. White may be aptly described as a good, true basso.  His voice is big and solid and richest in its greatest depth.  Like Mme. Scotney, he was encored after every number, and sometimes twice, and, like her, was generous with responses.



HALIFAX (N. S.) CHRONICLE — MAY 15TH
The program was opened by Howard White, basso, who made such a success here last spring in Air du tambour major from Thomas' Le Caid.  He sang with power and his usual excellence of diction, revealing the voice of remarkable sweetness which has made him such a favorite in this city.  As an encore he gave Rolling down to Rio, which was very well liked by the audience.
Scotney fairly surpassed herself at the initial performance.  Last year there was recognized in the young artiste a measure of talent such as brought her up to the standard of the great prima donnas like Melba and Sembrich, but this year she was even more wonderful.  Her ease of manner, her exquisite shadings and perfect control showed her as a finished artist, and doubtless she is the greatest coloratura singer who has ever visited the city.
Mme. Scotney's English group was a pure delight, but better even was the Ave Maria, Bach-Gounod, sung with 'cello-obligato by Howard White.  Mr. White is certainly a versatile artist, and those present were both astonished and delighted by his instrumental skill, no hint of such having been given in the advance advertising.  The Ave Maria was of a sweetness and beauty that awed everyone, and it is a tribute to Mme. Scotney's art that while the audience plainly showed their pleasure at the number, there was little clapping.



HAMILTON (ONTARIO) NEWS — APRIL 7TH
Added to her wonderful voice, Mme. Scotney has been given also great personal beauty, a charming manner and delightful stage presence, resembling in her reception of her audience the much-loved Mme. Schumann-Heink.
Mr. White possesses a fine basso voice, eminently adapted for concert work, of good range, resonant in quality, with an enunciation that was exceptional, but very enjoyable, in a voice of such deep quality.



BOSTON JOURNAL
Her singing of Caro Nome was a scintillant gem and the high note she took as she ended her song off-stage was as clear and pure and true as any dilettante could desire.


PITTSBURGH (PENNA.) DISPATCH — APRIL 28TH
Mr. White presented the first number, Air du Tambour Major, by Thomas, and he sang with his splendid vigor and an added intelligence to the direction of his tones, and dramatic imagination to the coloring of them.
Madame Scotney had scarcely finished her first number, Verdi's Ah Fors e Lui, from Traviata, when she was given an ovation which has not been exceeded at any recital this season.  The range of her marvelous voice is unusual, as it does not appear to have any weak places or to be less flexible whether at the dizziest top of the scale or in the mezza voice; as an artist her place is with the highest.  The group of English songs, Lass with the Delicate Air, by Arne; Down in the Forest, by Ronald, and Fairy Piper, by Brewer, were charmingly sung with delicacy and beauty of tone and fine appreciation of text.



MONTREAL “LA PATRIE”
L'artiste est d'abord tres jolie, son jeu artistique est gracieux; sa voix souple et d'un remarquable velouté dans le registre superieur.


MONTREAL “LE DEVOIR.”
Un rossignol ne saurait mieux faire le trille.  — Chose rare chez un coloratura, la voix de Mlle. Scotney est tres sympathique.  L'artiste sait chanter, et elle chante avec une remarquable aisance.  Si la fameuse Tetrazzini l'a entendue elle a du palir.  Ce n'est pas trop de dire qu' avec Mlle. Scotney naquit une seconde Patti.


PORTLAND, ME., DAILY EASTERN ARGUS
Of her singing it is only possible to speak in the superlative degree.  The coloratura passages were sung with a marvellous flexibility and sweep of tone and a clean-cut precision that were beyond praise, while the flawless beauty of her upper tones was electrifying.  The triumph Mme. Scotney scored was well-earned.  In the Bach-Gounod Ave Maria Mme. Scotney proved her worth as a great singer apart from her greatness in coloratura, delivering the lovely aria in its broad phrasing with a justness and purity of expression altogether satisfying.  The 'cello obligato by Mr. White was admirably played.


SPRINGFIELD, MASS. — HOMESTEAD
The program was opened by a group of songs by Howard White, a bass of commanding stage presence, whose voice is splendidly resonant and in excellent control.


FALL RIVER, MASS. — EVENING HERALD
Charming to look upon, Mme, Scotney possesses a glorious voice which seems to have no limit of accomplishment.
Howard White, basso cantante, a splendid specimen of manhood, appeared to advantage in three numbers, exhibiting a robust, resonant voice always under good control.



BURLINGTON, VT. — DAILY NEWS
Mme. Scotney's technical mastery of the brilliant coloratura was superb.  Her tone was at all times sure and convincing.  Howard White's bass won him deserved applause.  It was a voice of the big earnest kind and gave the stamp of sincerity to the work in hand.


ATHISON, KAN. — CHAMPION
There is but one comment, and that is that Mme Scotney is magnificent.  Her tones are beautifully clear, her range splendid and she sings with a charm of manner and so much expression that she leaves nothing to be desired.  Howard White, the basso, was much enjoyed.  His range is excellent, he has a sympathetic voice, a pleasing platform manner, and adds to his fine voice an artistic interpretation of every number.



Under the personal management of Mr. K. M. WHITE 100 Boylston Street — — Boston, Mass.




MADAME EVELYN SCOTNEY
Madame Evelyn Scotney was born in Ballarat the famous mining town of Australia, but received her education and early musical training in Melbourne where she studied with Mme. Pinchoff-Wiedermann, a pupil of Marchesi.  At a reception given in honor of Lord Kitchener, she was heard by the great Melba who, struck by the beauty of her voice, brought her to Paris and placed her under the tuition of Marchesi.  The following year Mr. Henry Russell, director of the Boston Opera Company, engaged her to sing small parts and thus acquire the necessary stage experience.  Upon her first appearance in the small but brilliant and extremely difficult role of La Charmeuse in Massenet's Thais, she made a sensation and was pronounced by the conservative Boston Transcript the incident of the performance.  Encouraged by this, Director Russell put her on the program for the following Sunday night concert in the Mad Scene from Lucia and she created a veritable furore.

The following Saturday evening she appeared in the star role of Lucia and was acclaimed in the highest possible terms in all the papers the following day.

Since that time she has been a full-fledged prima donna, singing Rigoletto, La Traviata, the Doll in Tales of Hoffmann, Lakme, and various other roles.  She has, however, been able to do a great amount of concert singing in which she is even more successful than in opera.

Madame Scotney is a woman of striking personal beauty and great charm of manner which combined with her skill in interpretation and her remarkable earnestness and sincerity make her a favorite wherever she is heard.  About her voice, its extreme height, its thrilling brilliance, its sympathetic richness in the medium and lower registers, its extreme flexibility, one could write volumes but they can all be condensed into one word—wonderful.


Miss Scotney, who has taken the part of the Charmeuse in Thais, won an ovation by her singing of the Mad Scene from Lucia.  Applause broke in upon the concluding high note and continued until the young singer had made her acknowledgments five or six times, and was then persuaded to repeat the latter part of the aria.
Miss Scotney has a phenomenal voice.  Its range is that of the true coloratura.  The upper tones are round, edgeless and of a remarkable bell-like purity.  In their amplitude and haunting beauty they are comparable to the voice of Melba.—

Boston Globe.


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Miss Evelyn Scotney sang her way into the hearts of Boston music-lovers at the Boston Opera House last night.  With the Mad Scene from Lucia as her vehicle, she rose upon the wave of popular favor as few who have appeared before Boston audiences have succeeded in doing, and all who heard her pronounced her a new star in the operatic firmament.—
Boston Post.


Evelyn Scotney broke into the ranks of stars of grand opera by an extraordinary performance of Lucia at the Opera House last night.  There was a large audience which displayed as much excitement over her singing as Tetrazzini might expect, and on every side you could hear people comparing her with the famous Italian.  The voice was as clear as crystal, extraordinarily brilliant with that diamond-like hardness that denotes the great coloratura singer.
The Mad Scene brought a tremendous ovation, and it was a rare treat to hear such a lovely voice in the high altitudes.—

Boston American.




IN PRESENTING MME. EVELYN SCOTNEY AND MR. HOWARD WHITE in joint recital, the management feel that they are offering the musical public of America one of the most attractive combinations that could be desired.  These artists are both young, but they have both had Grand Opera experience and innumerable appearances in the concert field.  They are particularly attractive as a combination because of the diversity of their voices and respective styles.  Mme. Scotney has a remarkably high and brilliant soprano and excels in the coloratura arias and in the dainty, exquisite type of songs, while Mr. White's voice is a round, full basso cantante, which is especially adapted to the dramatic and virile, or to the emotional and sentimental numbers.  Thus their programs can be depended upon to have sufficient variety and to be comprehensive of all that is best in vocal music.  Mr. White's 'cello obligatos are a feature of their joint programs, and their duets are always well received.  In a word, they are singers who not only please but satisfy their audiences.



Specimen Programs

CLASSICAL PROGRAM


1.
Aria from Der Freischütz

Weber




Schweig damit dich Niemand warnt.





Mr. White



2.
Aria.  Ah!  fors e lui from La Traviata

Verdi




Mme. Scotney



3.
a Aufenthalt

Schubert



b Feldeinsamkeit

Brahms



c Im zitternden Mondlicht

Haile



d Ghazal Chant d'Amour

Wekerlin



e Les Berceaux

Faure




Mr. White



4.
a Standchen

Strauss



b Du bist die Ruh

Schubert



c Elfenlied

Wolf



d Chanson Indoue

Rinisky-Korsakow



e A des Oiseaux

Hue




Mme. Scotney



5.
a Pilgrim's Song }





b Don Juan's Serenade }

Tschaikowsky



c Israfel

King



d Wassail

Leighter




Mr. White



6.
a A Spirit Flower

Campbell-Tipton



b Will o' the Wisp

Spross



c A Star

Rogers



d To a Messenger

La Forge




Mme. Scotney



7.
Ave Maria

Bach-Gounod




Mme. Scotney with 'cello obligato by Mr. White






ALL-ENGLISH PROGRAM


1.
Aria from The Seasons

Haydn




With joy th' impatient husbandman





Mr. White



2.
Aria from L'Allegro e il Penseroso

Handel




Sweet Bird





Mme. Scotney



3.
a Had a horse

Korbay



b Two Roses

Gilberté



c Uncle Rome

Homer



d Border Ballad

Cowen




Mr. White



4.
a A Spirit Flower

Campbell-Tipton



b A Star

Rogers



c Will o' the Wisp

Spross



d To a Messenger

La Forge




Mme. Scotney



5.
a Witch-woman

Taylor



b I am thy Harp

Woodman



c Invictus

Huhn



d Smuggler's Song

Kernochan




Mr. White



6.
a Where the bee sucks }





b The lass with the delicate air }

Old English



c My love is like a red, red Rose }





d Whistle and I'll come to ye }

Old Scotch




Mme. Scotney



7.
a At Dawning

Cadman



b Loch Lomond

Old Scotch



c An Indifferent Mariner

Bullard



Duet Passage bird's farewell

Hildach




Mme. Scotney and Mr. White






SEE PERSONAL AND PRESS NOTICES ON INSIDE PAGES






Figure

Madame Evelyn Scotney of the Boston Opera Company
Proctor Eng. Co. Lynn