Fidelio Grand Operatic Company

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Fidelio Grand Operatic Company
Redpath




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The Fidelio Grand Operatic Company



T
HIS company is named in honor of one of the greatest masters of music the world has ever produced—Beethoven.  The name is borrowed from Beethoven's first and only grand opera.




OUR PURPOSE in offering this company of artists to Lyceum courses is to present some of the greatest music, in an attractive, artistic and at the same time a popular manner.




The whole world loves grand opera.  Music is a great force—one of the fine necessities of life.  Combine the power of inspiring music with the splendid wholesomeness, radiating from big, clean, personalities, and the result cannot but bring a tremendous personal satisfaction, a feeling of a more intimate acquaintance with beauty, joy, and human sympathy.





THE PROGRAM



Of course, no attempt will be made to produce grand opera completely.  That cannot be done without a large singing chorus and an orchestra.  However, most people are interested primarily in certain great scenes from the operas, rather than in the operas as a whole.




The Fidelio Grand Opera Company will sing complete scenes from several different operas.  They will not use the too often sung, and shall we say, too often badly sung, selections?  They will confine themselves to some of the equally beautiful, although not quite so hackneyed parts, of such operas as 
Carmen,

Cavalleria,

Romeo and Juliet,
 and 
Aida.




One act of the program will be of a distinctly popular nature, embracing much that is light and humorous, and full of heart interest.  In short, the program is arranged to fit all sorts of people.  It can be given in any sort of a building and on any sort of a stage, although, naturally, the better the stage, the better the presentation.  As these people are finished artists, provision should be made by committees for a first-class piano, properly tuned to international pitch.





THE PERSONNEL



The company is headed by a truly remarkable grand opera quartette, consisting of the following:




ELIZABETH POWELL VAN CLOSTER, Soprano, is one of the best of the younger grand opera artists.  Press and critics have had much to say of her work.  She is exactly the type that is most admirably fitted for grand opera roles, being truly gifted with unusual dramatic qualities of voice and personality.  Her voice is sweet, clear and brilliant, with abundant power to meet the needs of the great soprano roles.  At times when she is singing, every never in her body seems to be used in developing her powerful interpretations.  She has a wonderful repertoire, but she has gained chief distinction in singing 
Santuzza,
 in 
Cavalleria,
 
Amneris,
 in 
Aida,
 with the Kansas City Grand Opera Company, and as 
Lola,
 with the San Carlo Grand Opera Company.  She sings equally well in French, Italian and English, although this program will be given entirely in English.  Besides her great qualities of voice, Madame Van Closter is a most beautiful and engaging person, and one whom it is a pleasure to meet.




WALTER LEON, Tenor.  Very few American artists have had the opportunities and the experience that are so fortunately possessed by Mr. Leon.  His training has admirably adapted him for the larger experience which he is now enjoying.  He studied at Stern's Conservatory in Berlin.  Then returned to this country and taught music.  Next he went to Paris, and studied under the famous Jean De Reszke, Oscar Seagle, and others.  During this time he was singing in an important church in Paris.  His next move was to go to Milan, Italy, where he studied a year with Sabatini, who is famous as a teacher of John McCormack.  While in Italy he appeared in the leading roles of 
Don Pasquale,
 
Rigoletto
 and 
Lucia de Lammermoor.
  Next he toured England, Scotland and Ireland for over a year, with the famous D'Oyly Carle Opera Company.  Following this came a tour with the Moody-Manner Grand Opera Company, with whom he sang leading roles in 
Faust,
 
Bohemian Girl
 and 
Carmen.
  Other important tours have taken him to America and Cuba.  He knows more than 20 grand operas.  He bears remarkable testimonials from Jean De Reszke, and the great Vincenzo Sabatini.  Critics of all the many countries in which he has sung give him great praise for the splendid work he has done.




ANNE M. SULLIVAN, Mezzo-Soprano, comes to the company from the Chicago Grand Opera Company.  Her voice is a rich full mezzo-soprano with decided contralto qualities.  She has appeared in Grand Opera in every large city in the United States and Canada.  She has been a member of the Mantelli Grand Opera Company, and the Aborn Grand Opera Company.




A music critic of the Mail and Times said of her appearance at Des Moines:  
Miss Sullivan, well remembered for her splendid work in 'The Redemption,' received a most flattering reception.  Her voice was in glorious condition, which, combined with magnetic stage presence, left an impression that will not soon be forgotten by an appreciative audience.




Detroit Free Press:  
Miss Sullivan was 'Carmen,' and one of the best we have seen.  Her singing of the 'Habenana' was notably good.




Independent Republican, Montrose, Pa.:  
Miss Sullivan's rendition of the gentle aria by Saint Saens, from 'Samson and Delilah,' was received with tremendous applause, and she was recalled before her audience several times.  In Luzzi's 'Ava Maria' the singer brought forth her crowning triumph of the evening, and round after round of applause was given the young woman.




EDWARD H. QUINN, Baritone-Bass, comes to the company from the faculty of one of the great Conservatories of Music, and after wide experience in Grand Opera productions, in concert, oratorio, and in recital.  He has a voice of unusual range and power, a delightful personality and splendid appearance.  The critics are warm in his praise.




Mr. A. Cotsworth, of the Musical News, Chicago, says of Mr. Quinn:  
Mr. Edward H. Quinn, the young baritone-bass, with a big compelling voice and attractive personality, was another attractive feature of the concert.  He chose for his number the 'Evening Star' from Tannhauser, and the sweet reasonableness of the choice was evidenced by the success he made in it.  Mr. Becker gave him unqualified support with the orchestra.  He sang sincerely and unaffectedly.  His voice was well equal to all that was demanded of it, and he enthused into his utterance of the text a good quota of the fervor and longing which the best traditions say belongs there.




MARGARET OWENS, Violincellist, Lyric Soprano, has a splendid voice of beautiful quality, which, with the other members of the company, ably supports the work of the quartet.  She plays the cello with great artistry.  Her experience in Opera has been with the Chicago Grand Opera Company.  She has received in addition many favorable comments from her work in concert and in oratorio.  This is her third season with the Redpath Bureau.




A concert violinist and an excellent piano accompanist are the other members of the company.




Most of the program will be given by the quartette, with the orchestration support of violin, cello and piano.  In some scenes and selections the full singing strength of the company will be heard.  The scenes and arias selected show to greatest advantage the musical and dramatic art of each member.  The characters in each scene will be beautifully costumed in strict conformity to the best traditions.