1950 Adele Addison Margaret Bonds Recital Program Grand Theatre Calgary for Sale

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1950 Adele Addison Margaret Bonds Recital Program Grand Theatre Calgary For Sale

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1950 Adele Addison Margaret Bonds Recital Program Grand Theatre Calgary:
$52.49

This concert program documents a recital by soprano Adele Addison, accompanied by pianist Margaret Bond, presented under the management of a local concert series in Calgary, Alberta, Canada. The program dates to early November 1950, established by an announcement for the next concert featuring Metropolitan Opera tenor Raoul Jobin and lyric soprano Stella Roman in a joint recital on Wednesday, November 15th, 1950. The interior pages enumerate a demanding and cosmopolitan repertoire organized into six parts with an intermission, spanning Handel arias such as "Care Selve" and "Silent Worship," French art song by Chausson, Hahn, and Bachelet, and Russian and American art songs including works by John Duke and Henry Switten. The program concludes with a group of Negro spirituals arranged by Margaret Bonds, Harry Burleigh, William Dawson, and Hall Johnson, reflecting the mid-century recital tradition in which Black concert artists paired European classical repertoire with African American vernacular song. A Heintzman piano is credited as the instrument for the performance.A notable feature is an "An Apology and Explanation" section addressing the cancellation of a Guiomar Novaes concert originally scheduled for October 11th, attributed to Madame Novaes' inability to leave Brazil and her husband's illness, with subscribers offered a pro rata refund. This text offers insight into mid-twentieth-century concert management, artist travel logistics, and subscriber ticketing practices. The back cover carries period advertising, including Henry Birks & Sons (Western Limited), diamond merchants, jewelers, and silversmiths at 314 Eighth Avenue W., Calgary, and Heintzman & Co. Ltd. of Calgary, Alberta, promoting an RCA Victor automatic 45 changer that "Plays through any Radio." These advertisements situate the program within Calgary's local retail and consumer electronics landscape of the era, when 45 RPM records were newly popular following their 1949 introduction. Printed on light cream or off-white stock typical of mid-century commercial letterpress and offset work, the program survives in well-preserved condition with relatively crisp edges and minimal visible wear. Such recital programs function as primary documentation of regional concert promotion, repertoire selection, and the intersection of classical performance with local business patronage in postwar western Canada. Related Items: