WALTER KIRBY'S RECITALS

Dominion, Volume 8, Issue 2279, 13 October 1914, Page 7

WALTER KIRBY'S RECITALS

LAST EVENING'S CONCERT, Those who heard Walter Kirby years ago, and perchance revived their memories of his cultured vooa'lism recently in "Samson and Deliiah" at the Town .Hall, must recognise in him a tenor of uncommon quality. Whatever gods thore be have endowed him with a very beautiful voice, sweet and mellifluous tliroughout the registers, and produced in the approved bel canto method, which gives that round tone and perfect articulation. Add to this a surprising control of the breathing, and a crystal clear pianissimo, wliich penetrates to the farthest corner of tho theatre. Temperamentally, Mr. Kirby is scarcely so fortunate. He has not. naturally, the dramatic sense,' and though ho is capable of summoning up a semblance of it, he hesitates at a climax, and so loses his grip. A notable instance of t'his was apparent in the aria from Giordiano's "Andrea Clienier," the greater part of which number Mr. Kirby sang splendidly, but discounted the effect of his good work by allowing bis dramatic mantlo to slip from his shoulders, so to speak, half a dozen bars from the end, and actually walked towards tho piano as be sang tho iinal note. But there were ample compensations. Away from tho sphere of dramatic music, Mr. Kirby allowed his lyric sense full sway with entrancing effect. His singing of "Tho v ßells of Shandon" (to the air "The Last Rose of Summer") was a pure delight, and a splendid display of his limpid brilliance in the high register. Tl|js was sung as an encore to the recitative and aria "I Will Arise," from tho late Sir Arthur Sullivan's cantata "The Prodigal Sou," one of tho composer's earlier and certainly not bis best efforts in the domain of sacred music. The'second encore was "Ben Bolt," that time-worn and dolorous song of decades ago. Coming to tho singer's second group of numbers, there was matter of more moment. Massenet's ' "Elegie" is cool and sweet in its refinement; "When Love Bends Low" (Lambert) is a charming songtet, which Mr. Kirby treated with a delicate tenderness altogether charming. Another poesy of song was Roger Quiltcr's "Now Sleeps the Crimson Petal." Following on Mr. Kirby sang in the German, "Slowly to Yonder Church" (Von Fieiitz), a very beautiful song of high inspiration. Liza Jarrctt's "Spring Song" concluded tho bracket. It was a pleasure to hear once more the haunting melodies which Puccini gavo life to in "La Boheme." Last evening there were two of them. Mr. Kirov sang the poet's song ("Thy Tiny Hand is Frozen," from the first act), very effectively, and with Mr. Bourke sang the duet where tho poet and painter, sing of their loves in splendid concert. Tho duet was ono of the features of the programmo, and was honoured with a recall. As an encore to the "Poet's Song" Mr. Kirby sang the gay little lilt, "0 Sole Mio" (Capua) delightfully. 'His othor songs were: "Life" (Meakstone), "Obstination" (11. do Fontenailles), "On with tho Motley." from "I Pagliacci" (Leoncavallo), vory creditably sung; "Old Bridget" (V. Peterson-Berger); ''Serenade"' (Bomberg); "Angelo, Guard Thee," "Over Here" (an arresting song of famine times in Ireland, by Wood), "Barcarolle" (Offenbach), "Realms of Air" (Grenfell), "We Know, Wo'U Understand" (Jas. Henry), and as a final encore "My Task." In many of his items the singer player. # rather perfunctorily,. his own accompaniment. Mr. Kirby was assisted by Mr. Frederick Bourke, a baritone with fine temperamental qualities, whose singing is illuminated by high intelligence and tasteful expression. Mr. Bourke sang "Thou'rt Passing Hence" (Sullivan), "Absent Yet Present," "Mother . Machree," "Acushla," and "Terence s Farewell to Kathleen." It is a long time silico we have heard so good an 1 exponent of Irish song as Mr. Bourke. Miss Frances Barry, a singer new to Wellington, appeared to be overweighted or nervous in ' The Cry of Rachel," which calls for considerable dramatic ability and temperamental power. Still .Miss Barry showed that she had vocal stamina in 'Jeunesse. • Miss Mona Moore, an advanced student, played Liszt's "Rhapsodie Hon'groise" with little tone or uiiderstand--1112. She was heard to better advantage in "Hark, Hark the Lark" (Schu'-bort-Liszt), and in the brilliant 'Arabesque" (Leschetizky). 'Cello solos by Mr F. R. Johnstone, 'Meditation (from Massenet's "Thais"), and Popper's "Rhapsodie Ungansche, w'ere not the least interesting items on this extremely lengthy programme. lhe accompaniments of Mrs. E. H. Quereo w'ere faultless. "