Opera oratorio concerts

              Hinshaw


OPERA ORATORIO CONCERTS





THE HINSHAW GRAND OPERA QUARTETTE


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JOHN B. MILLER Tenor

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ILA BURNAP HINSHAW Soprano

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ROSE LUTIGER GANNON Contralto

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WILLIAM WADE HINSHAW Bass-Baritone





THE success of William Wade Hinshaw in grand opera and oratorio might well arouse the keenest envy in the heart of any singer in America who has aspirations in these arts.  But it doesn't.  There is no envy in his own being and he arouses none in others.  He is so big, mentally, physically, vocally—of such splendid musicianship and personality that his contemporaries gladly extend to him the hand of good fellowship, finding in him that which arouses inspiration rather than envy.




His experience in grand opera and his acquaintance with the musicians of America enable him to bring to the concert platform a company of artists in a program that's something more than a mere musical entertainment.




The program consists of quartets, trios, duos and solos from favorite operas and oratorios, and includes also many songs that are favorites, but not of operatic origin.  In fact with a mixed quartette of singers such as are here offered, much of the best there is in the realm of opera and oratorio can be presented and the absence of a chorus hardly be noticed.  For instance, the second act of 
Martha,
 the first, third and last acts of 
Faust,
 an act from 
Fra Diavolo,
 five scenes from 
Il Trovatore,
 the 
Prison Scene
 included, and most of 
Cavalleria Rusticana
 can be given without a chorus.




Unless otherwise requested all singing will be done in English, although selections or even full programs can be given in German, French, Spanish or Italian.




The fact that a singer has attained eminence in grand opera, does not signify that he 
sings over the heads
 of people.  On the contrary it's pretty good evidence he doesn't sing over their heads.  The demonstration that always followed Hinshaw's rendition of the baritone solo, 
The Heart Bowed Down
 in the opera 
Bohemian Girl,
 given at the Auditorium in Chicago during the last week of the engagement there, did not indicate that he was singing over the heads of the people.  Indeed it seemed a good deal as if he was getting about as close to their hearts as a singer could get.




Opinions concerning great singers, formed by hearing some would-be humorist ridicule the grand opera he claims to have heard 
over in New York the other night,
 will not stand long against the impression this company makes.




It's easier to ridicule a great thing than it is to do one.  These artists do not ridicule anything or anybody—not even themselves.
—
Kersey.



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EDGAR A. NELSON Pianist


Management LAURENCE TOM KERSEY, 55 Auditorium Building, Chicago