MISS EDNA THOMAS.

Press, Volume LXI, Issue 18402, 8 June 1925, Page 7

MISS EDNA THOMAS.

SATURDAY NIGHT'S CONCERT. Itr, seemed as if on Saturday night the lady from Louisiana and her associates had "just emerged from the chryalis state transformed" to charming butterflies. The slender line 3, graceful, if "unelassic, suited them passing well; only that, unlike well-mannered butterflies, they fell back to the abandoned stage with the return to "spirituals" j in the final section. | There had been little chance, in the negro-songs, of judging Miss Edna Thomas's singing voice purely as such. That it was flexible, well-modulated, sympathetic, and, before all, emotionally expressive, we could not doubt. But of its volume and resonance wo caught no more than stray glimpses. Her "classic" programme supplied the rulesing key to a full estimate. Such songs as "Maynight," by Brahms, still more, Schumann's "I "Will Not Grieve," • and Tschaikowsky, revealed the music, the breadth and. culture of a fine mezzo-soprano voice, almost equal in the whole range' except in the lowest notes, and admirably Controlled. One almost regretted the introduction ■ of light-toned songs like the "Lullaby" of Brahms, in which was lost again the Tound full tone just given out, and the art of effectively sustaining soft notes, not regained. In. emotional appeal",'' I Will Not Grieve" took first rank; "Maynight" for tone-beauty, as for gface and tenderness the lovely-, song '.'Tes Ycux," snug with rare elegance of French diction. To the subsequent "spirituals" there is no need to refer again. In every way, Miss Thomas leaves delightful memories. Miss Constance Piper -proved fully equal to the. higher demands of the artsongs presented, 'conspicuously alert and skilful "always. .But she must.;bo taken to task for the- hurried pace in the pianistic epilogue' of. Schumann's "I Will Not Grieve,";.'-which;all'but destroyed the atmosphere of despair the •singer had'taken:pairis'to create"./' •

It seemed"aslf' Miss- Luciler-Law-rence h'ad.;.never. .played .<as .-confidently as in this ..final'concert. Her •. virtuosity was,never more strikingly apparent, set, off to Tiy 1 such "cleverlyadapted -pieces -as Debussy's "ißn Bateau", and,Selzedo's-realistic "Mirage", and- "Whirlwind;" -"> all played with showers 'of illustrating briUiancy. , Later on, she took to Kameau and-Handel; and jointly, w4tk Miss Piper,' gave an excellent reading to Widor 's ; brilliant Variations, entitling both ladies to .warm praises. A.large,audience followed the admirable presentations with the keenest interest l arid'liveliestappreciation.