MADAME GOWER-BURNS AND MR HOLENBERGH.

Press, Volume LX, Issue 18216, 29 October 1924, Page 12

MADAME GOWER-BURNS AND MR HOLENBERGH.

Last, night, at .Tellicoe Hall, Madame Gowcr-Burns and Mr Haagen Holenbergh had combined hi a most attractive recital. Madame was in splendid voice, just as fresh at the finish, after cloven soli, as at her first entry on the stage. At till times she continues to be a fascinating singer. You may differ, now and then, from her conception of a song, but no doubt arises that her interpretation is based tipon devoted and thorough study and lias its justification. It is not merely a parading of the voice, as with so many singers, much more it is her artistic perception translated into vivid accents expressive of tlie sentiment of the movement, which constitute the real spell. In this way she impressed right through lier varied programme la's! night," ller lirst appearance brought three operatic Arias, "Batti, batti," from Mozart's Don Giovanni, sung with the requisite breadth of tone, then the "Scena" from "Cavalleria Rusticana," "Mother You Know the Story," in dramatic delivery, and, as encore, an Aria from Massenet's "Manon," brilliantly executed. The second group comprised songs by Dvorak. Rimsky, Korsakow, Kubinstein, K.jerulf ami Grieg, each different in emotional claim, excepting perhaps the two Rimsky-Ivorsakow songs, which for their similarity in Oriental colouring were better kept apart. "Grief," Lv Dvorak, "TTie Song of India," the dramatic "Asra," and "On the Ling, Ho." seemed to be Madame Gower-Burns's most perfect readings, but all added to one's respect for the gifted singer. Mr ITaagen Holenbergh has already introduced himself very favourably hj his brilliancy and power as executant;. His choice of pieces also is never bound by convention; Jie strikes out on new lines. So last night he gave Beethoven's Sonata, Op. 78, which is never heard. Perhaps it may not rank among the highest, but there is not much of Beethoven that should be left unknown. In the Rubinstein transcription of the "Turkish March" the illusion of the approaching band .was not as well illustrated as the retreat. We had Chopin's Scherzo in C sharp minor. But far the most interesting features were contained in the second section. Apart from Liszt's "Legend of St. Francis" —what turbulent waves he must have walked on—especially Cyril Scott's weird "Jungle," the transcribed Russian air, "The Nightingale," and the quaintly original "Valse" by Richard Nordraak gave ample opportunities to the pianist to prove his skill. He also distinguished himself as a sympathetic accompanist. For the. operatic, numbers Miss Eileen Twomey officiated at the piano with very creditable results. The audience was not as large as might be expected, but unsparing and warm in applause.