MUSIC.

Dominion, Volume 3, Issue 869, 16 July 1910, Page 9

MUSIC.

(By Theble Clef.)

Antonia Dolores. In one respect Antonia -Dolores, who so admirably, combines art and amiability, stands higher in public estimation than Madame Me'lba or Madame Calve. As an exponent of the gentle art of ballad singing Mdlle. Dolores occupies a position of pre-eminence. In this regard the term ballad singing is used in the broadest and best sense.' It may be said of the gifted lady, whose success was complete at a recent concert, that she has studied tho songs of every country. And alike in pathetic music and music of the pleasing kind,' this most attractive song-re-cital artist makes her appeal with the consciousnes's of powers that are obedient to her will. What is the use of dry . technical criticism when an attractive woman, richly dowered 'with sweetness, sympathy, and persuasive grace, and whoso soul is'full of music, stands before an audience and blends poetic charm with emotional warmth in songs that reach tho heart? A singer with a flawless vocal method and an infallible techniquo is but a juggler with tones if she has not soul, imagination, and the capacity to express emotion with sincerity and eloquence. Not' that Mdilc. Dolores shrinks from any test in .the technical • sense. in everything she does there is tho marvellous ease and su'reness of a supreme artist, who is able, so to .speak, to forgot technique and make those who are listening also, forgot it. In other words, this gifted singer makes technique a means to an end, and the end with her is to sing beautifully. In tlio essentials of vocal art sho is splendidly equipped..' In her singing'wo have firm, clear tone, purity of intonation, distinct enunciation, the legato charm, brilliance in floral music, perfect breath control, an exquisite sense of colour, and a complete command of tho resources of artistic phrasing.

A Rost for "The' Messiah." In his now book', "Musical England," VV. J. Galloway says "there can bo littlo doubt that in the interests of Handel himself it would be well if tho public would consent to a close season for "i'ho Messiah,' and so allow tne other oratories to make their full effect." The-same writer calls attention to one littlo known aspect of, English, musical life. "No stranger visiting lor tho first timo a London . competitive gathering can fail,"- he says, "to be struck with the number of societies recruited from large commercial houses and with tho excellence of their work." The great railway companies also have their own clioirs and amateur orchestras. The Great Western Railway Musical Society is distinguished among its rivals by the admission.of female memtors. The Great Eastern Railway Musical Society is a -flourishing type of this particular form of organisation. It was founded by officers, of the company, it is encouraged and financially supported by directors,- and it is administered by a committee representative of every department of the company's system. It consists of a choir and an orchestra,, distinct bodies, but trained by tho samo conductor. Periodical concerts are given.

Vlardot-Carcia's Thoroughness. Tho thoroughness of the vocal art of Pauline Viardot-Garcia, who (lied in Paris a few weeks ago, aged eightyuino, is thus illustrated in tho chapter devoted to her in "Success in Music and How it is W.on": Once upon a time Mozart's "Don Giovanni" was chosen for performance at Florence, Italy, hut after thirty-six rohearsals it was given up as beyond tho powers of. singers and players. Tho siimo thing happened in 1802-3 to 'Wagner's ''Tristan and Isolde," which was given up in Vienna after fifty-four rehoarsals. "Ever since the first postponement of the 'Ti'istnn' rehearsals," Wagner wrote, "tho musical'press of Vienna had found its favourite occupation in the attempt to prove that-my ivork could not possibly be performed under. any circumstances. That no tiinger could hit on my uotesj or remember them —tin's assertion became the motto of all who wrote and spoke about rno in any part of Germany." Then ho contrasts with this an experience ho had iu Paris when Mme. Viardot-Garcia aang a whole act of "Isolde" at sight. To-day, when Wagner's operas are siiuo; everywhere, it is somewhat difficult to realiso what a feat thai was. There was no malice iu tho attitude of tho Viennese singers, as 'Wagner suspected. Von Hulsen, Mio manager of the Berlin Opera, wrote to Eduard De-v----rient for information as to why "Tristan" had been given up in Vienna, and Devrient told him in detail about the persistent and vain attempts, with bis .best singers, to master Wagner's difficult vocal style, adding that the opeia bad also been given up as impossible in two other cities; and Franz Dingelstedt wrote ,to Hulsen from Weimar, in a similar strain, declaring that in |jis;;t's opinion the 'second act would have to be revised, and that AVagner himself was convinced of the same thing. Yet Pauline Viardot-Garcia sane that act at sight, not only correctly, but in such a way as to impress the f.nmposer! And sin- was not a'trained Wagner singer, having won most of her triumphs in French ami Italian opera. Uor parents Wert Spanish. '