PLEASING MUSICAL EVENING

Chronicle (Levin), 30 August 1946, Page 4

PLEASING MUSICAL EVENING

PROGRAMME BY MR. AND MES. CHAS. HAZELDENE A programme of music designed to suit ail tastes, from the student to the casual music *;lover, was presented in the Century Hall last night by Mr. Chas Hazeldene, tenor, and Mrs. Hazeldene, mezzosoprano and pianiste. They cov.ered a wide range ,of compositions frcm the great classics of Puccini, Verdi, Beethoven and Chopin to such modern works as Richard Addinsell's "Warsaw Concerto" and Jerome Kern's "Old Man River." The inclusion of Kern's music, still not recognised among the modern ciassical class, seemed in no way out oi place with the great classics also presented, perhaps an indication that Kern may one day take his pla'ce with the masters of former days as a representative oi cwentieth century music. The first item, Sanderson's "The Voyagers," sung as a duet; _was given sympathetic interpretation, out it was immediately apparent that the accoustics of the hall were far from satisfactory for the purpose. Chopin's "Ballade in A flat major" was played with intense feeling by Mrs. Hazeldene, the vividness of this composition being t'ully brought out. The difficulties of interpretation and execution in the aria "O Paradisa" from Meyerbeer's opera "L'Africana" were effectively dealt with by Mr. Hazeldene and appreciated by the audience. The aria was followed by Scriabine's "Left Hand Nocturne" and Rachmanin-, off's "Humoresque." The contrast between the gentle rhythm of the nocturne and the gay, rollicking air of "Humoresque" was most 0]fT GctivG A bracket of three songs followed. In the first, "I Love Thee," by Beethoven, Mr. Hazeldene brought out that emotional depth peculiar to Beethoven's music in a llne interpretation. In Schubert's "Linden Tree" especially he showed that he is one of that rare band of singers who make their words distinguishable. Martini's well known "Chanson D'Amour" concluded the }DT3/CkGti A duet, the "Miserere" scene from Verdi's opera "II Trovatore" came next. It was faithfuny interpreted and well sung. Mr. Hazeldene sang off the stage, as is done in the actual opera, a point which added to the ease of appreciation. An old - favourite, "Keys of Heaven" (Wright-Greeves) began the second part of the programme. It was followed by the theme from the "Warsaw Concerto" played by Mrs. Hazeldene. This concerto has been heard so often since its flrst performance that it tends to; become somewhat hackneyed, but it was enthusiastically received. Mrs. Hazeldene's interpretation was slightly different to the usual version heard, in that it was played, a little faster. However, it lost nothing, but rather gained, in consequence. In contrast to the semi-tragic theme of the concerto, Chopin's lovely waltz in E flat major, was played immediately afterwards. It's lilting melody was well brought out. Two national songs followed, sung by Mr. Hazeldene. They we re "My Ain Folk" (Lemon) and "Macushla" (MacMurrough) and their interpretation showed the singer's versatility in this respect. Perhaps Mrs. Hazeldene's finest performance of the evening was Chopin's "Bereuse." The "soft drowsiness" of this music is oniy brought out by skilled execution and an understanding interpretation, and Mrs. Hazeldene demonstrated that she was capable of both. The fire and hate felt by Chopin when he composed his "Revolutionary Etude" came to life under Mrs. Hazeldene's tpil.chy \foiiowing her skilled " perfbrrhaiiGevbP Berceuse." Opce again'sljCi emplpyed two vividly?. contrasting numbqrs with great eft'ect. In singing the "Lord's Prayer," by Mallotte, and "The Blind Plowman," Mr. Hazeldene put a'll the feeling and sincerity into his performance that the great themes of these pieces demand. Two duets concluded the programme. They were Jerome Kern's "Old Man River" and "Mine Alone," by Johann Strauss. They were of the sarae high standard as the rest of the programme.