MR. JOHN M'CORMACK.

Dominion, Volume 7, Issue 1954, 10 January 1914, Page 6

MR. JOHN M'CORMACK.

RETURN OF A DISTINGUISHED TENOR. , When Mr.. ; John M'Cormack., tho dis-tinguished'lrish-American. lyric tenor, visitoil Wellington for the iirsfc.-. time, about two years ago, Iks left; very pleasant....,memories behind him— memories of 'a' soi't, silky, tenor voice of marvellous-sweetness,' a temperament wholly.-Irish, ■a. merry face, and a .twinkling eye. This pleasing impression assured for Win a.warm welcome on tho occasion of his reappearance hero lastevening,' when the first of a brief season of two concerts was given at tho Opera House before a very large audience,which filled, all parts of the house, Mr. M'Cormack was accompanied by a small concert party,' winch, included Miss May Huxley (soprano), Mr. Donald M'Beafh (violinist), and Mr. Vjrice lit O'Brien (pianist), and tho programme presented' for their first concert had just that nice touch of variety which,: when associated with artistic performance, makes, a perfect entertainment, and-whets tho appetite for moro. Mr. M'Cormack's programme numbers included;, selections - from grand opera ■■ and from tho seductive lyrics of Old: Ireland. - - Mr; ■ M'Connaok's standing'at' Co vent GttTden, though not pre-eniineist-rfor his is not tho terrifie

"teuore'' of ■ siCaruso—is nevertheless an_ assured one. I'iio soft caress in his voice;'the artistic perfection of his work, the passionate abandon with which'-' 1 , his singing js animated, cntitlo him to preferment in roles suited to his voice,;■ as his singing of Mozart's "Tin Aura. Aniorosa" ("Cosi Fan Tutte"), and of an eUooro number, "La Doima e Mobile" (Verdi's "Itigoletto"). amply demonstrated. Mr. M'Cormack's fame as a singer, however, lies in his ability to ■ interpret, with an eloquence of expression amounting to genius, tho ■simple and characteristic ballads which eunch the lyrics' of tho "Ould Sod." To hear iiim sing "The Minstrel Boy" as ho sang it iu tho Opera- House last night, is to roaliso and appreciate .what that fine okl ballad means to on Irishman< The spirit of defiance, of military glory, of sublime patriotism, rings out clear and impassioned, quickens the imagination, and tingles tho blood: Or in "Molly llrannigaii,", a typical Irish folk enng, of love and disappoiiitnsmt, of a "broth of a bhoy", Wmoss colleen has thrown him over, and whose oiio single thought is of death, Bpectacislar and dramatic. This song, by tho way, has been tho biggest hit of tho tour. "Mother o' Mine" (Tours), an impassioned panegyric, . dramatic in its appeal,. was another, and hero Mr. iU'C'ormaek's interpretive art was beyond praise/' Other memorable songs— tho singer was very indulgent to his clamorous admirers—was tho favourite ballad, "Who Is Sylvia?" (Schubert), Hue's charming French ■ air, "J'ai l'leuro en Revo," Hamilton Harty's "Lagan Lev© Song," "Tho Ncxt.Market Pay," "Absent," ami "I Hear' You Calling Me."

_ Miss May Huxley, a stranger to Wellington, was very .appreciatively received. Miss Husky's soprano voice is a little hard and unsympathetic, not very flexible, but i.n the singing of a certain class of song—notably in "Daddy's Sweetheart"—to which site Reems to bo admirably suited, sho was quite 'delightful. Shois less suited, and therefore less convincing, to such music, as Verdi's "Caro Nome" ("Rigolctto"), which she sang last evening, although the latter part of tho aria was thoroughly enjoyable. •M. Oskar Borisdorf's "Ferryman's Love," a bright little idyll. Miss Huxley was very successful; Cowen's "Birthday" demanded a little moro eloquence of expression than was given to it. "Deh Vien non Tardar" (Moaart) and "Ouvro tes Yeux Bleus" (Massenet) were admirably sung.

Mr. Donald M'Bent!), tho violinist of the party, was a little disappointing. His bowing lacked that expert touch which produces tha dear vibrant woto; he was occasionally—in ft rapid passage—just a shade out of tunc, while his phrasing suggested a deficient sense of rhythm and an inability to reproduce, if ho intelligently interpreted, tho composer's ideas. The rhythmic swing of tho "Rondo" from Beethoven's "Sonata in D" was disconnected, jumpy; tho "Shcrao" of Van Gocms's was not "clean"; Saint-Saens's "Lo Cygne," and Schumann's "Traumarei" were played with a mute, a dovico which covers a multitude of sins, adds no credit to tho player, and robs tho music of niuch of its original charm. Mr.'Vincent O'llrioin who played tho accompaniments, seconded tho efforts of tho performers tastefully and sympa-; tiif-tioally. ■

■ Tins second find final concert will be given this ovening.