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Hinshaw OPERA ORATORIO CONCERTS THE HINSHAW GRAND OPERA QUARTETTE Figure JOHN B. MILLER Tenor Figure ILA BURNAP HINSHAW Soprano Figure ROSE LUTIGER GANNON Contralto Figure 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. Figure EDGAR A. NELSON Pianist Management LAURENCE TOM KERSEY, 55 Auditorium Building, Chicago
|Title||Opera oratorio concerts|
|Topical Subject (LCSH)||
|Personal Name Subject||
Hinshaw, William Wade
Hinshaw, Ila Burnap
Miller, John B.
Gannon, Rose Lutiger
Nelson, Edgar A.
|Corporate Name Subject||Hinshaw Grand Opera Quartette|
|Digital Collection||Traveling Culture: Circuit Chautauqua in the Twentieth Century|
|Contributing Institution||University of Iowa. Libraries. Special Collections Dept.|
|Archival Collection||Redpath Chautauqua Collection|
|Rights Management||Educational use only, no other permissions given. U.S. and international copyright laws may protect this digital image. Commercial use or distribution of the image is not permitted without prior permission of the copyright holder.|
|Contact Information||Contact the Special Collections Dept. at The University of Iowa Libraries: http://www.lib.uiowa.edu/spec-coll/contact/index/|
|Number of Pages||3|
|Digitization Specifications||Scanned at 600 dpi, 32-bit color. Master image available in tiff format.|