ADELAIDE VAN STAVEREN

Dominion, Volume 14, Issue 45, 17 November 1920, Page 8

ADELAIDE VAN STAVEREN

FAREWELL CONCERT. Tho large audience which attended at | Hip Town Hall Inst evening was tangible ondorsomont of tlio favourable _ imprepsion croatod here by Miss Adelaide Van Staveren a few weeks ago. This singer has a mezzo voice of surprising range and thrilling power, aided to an exn-. he-rant temperament and highly-coloured, emotional force. Indeed, ; 'here are occasions when the singer is apt to lessen the poetic c-ffect liv a tendencv to overdo the sentiment of a number, but nt the Rime time if discipline were needed here and there in the direction tinted, there is no denying her power in dramatic and tragic song. Among the many items in a long programme—iWelf an achievement in physical endurance—tlift outstanding Kiiceessffi wore the aria, "O Don Fatale" from Verdi's little-known opera.. ''Don Carlos" (a number strong in it's dramatic nnpeal), and the aria. "Samson, recherehant ma presence." from Saint : Sacn"a "Samson __ anil Delilah." This superb nuinlier'Ts every bit as effective as the oft-sung "Softly .Awakes My Heart" that, ix so familiar to concert-goers, but it makes ovnn greater demands on the equipment of aa artist, for here Delilah is not cajoling her victim, but with devilish hate is reviling him as he toils, rnegei and forlorn, in hopeless captivity. Sites Van Staveren "painted the picture'" in unforgettable colours, hurling contempt at the heirless prisoner with fine intensity. It was a glimpse, of her powers in grand onern. which should he Mis? Van Staveren's true metier. Other nurrilwrs in which th:s " opulent voice was ut home were Beethoven's "Creation's Hymn," n noblo fragment of song. Coleridge Taylor's "Life and D?ath." Metnpr's fiercelv joyous "Exultation." and "Che Faro," from Gluck's "Orfeo." In "Connais tu lo Pays" ("Knowest thou the Country"), from Ambroise Thomas's "Mignon," the sentiment infused cloyed « little, though competently vocalised. This number was sung in the original French), as was also that very charming song "Jai Pleuro en Hove" (Hue), which was introduced to New Zealand audiences some years ago by Mr. Paul Dufault. Even the Russian language, was henrd in all its strangeness in Moussorsky's laughing ballad, "Bv the Borders of th« Don." A number of some interest was the "Spinning Song" by Mr. Arthur Alexander, a Dunedin pianist and 'composer who is coming to the front in London. The "Spinning Song"—scarcely well placed as such—is one of six songs for voice nnd orchestra, entitled "The Bard of ftombonitzn," which wrre written and performed in London, ■ being based oil Rumanian folk sonj*s by Vacnresso. The theme of the song is the bitter anguish of a woman who is the second wife of a man whose first "Went away withi another. And then hje took me for wife Because I was strong to work." Not a pleasant theme, nor is the number likely to prove in tho least drgTee popular at any time. But judging from , the pianoforte part, played with commendublc spirit by Mr. Bernard P. Page, the orchestration should be glowing recom-, pense for the somewhat colourless, tearful minor melody given to the sad Rumanian singer who was so "strong to work." In her English songs, Mis 6 van Staveren's misuse of many of the open vowels was n fault she should lose 110 timo in mending. Those were most obvious in the charming little Welsh lull aby "Suo Gan." Tho programme also included Lotti's li.lt, "Pur Decesti," ' "The Wraggle Taggle Gipsies" (a Somerset folk song), "Lavendor Dreams" (Conisby Clarke), and del Riego's "Homing." Mr. Matthew Dixon played as soli, the Schumann-Liszt '"Liebeslied" and Sjogren's attractive "Novelette" correctly, but without temperamental colouring. Mr. Dixon also played the accompaniments.