CESARONI RECITAL

Dominion, Volume 14, Issue 223, 15 June 1921, Page 6

CESARONI RECITAL

A TEACHER AND HIS PUPILS. Signor Lucien- Cesaroni has only been teaching vocalism something like two years, and that not continuously, so that a pupils' recital interested many in Wellington who judgo a teacher’s training methods by results. Taking that attitude, and remembering that in nearly every case it was tho first occasion on which tho pupils have sung before tho public, Signor Cesaroni is to be congratulated. Good natural voices are as rare as blue pearls, and in tho majority of instances teachers have to work on voices that have tho promise of something better than nature has bestowed. It is, however, tho teacher’s mission, to bring out those latent virtues in voice, and the intellect as applied to singing, and Signor Cesaroni has certainly achieved good results. His recital pupils consisted of a quintet—soprano mezzo tenor, baritone, and bass, and whilst (there were occasions when nervousness affected tone, the manner in which they approached the difficult numbers setvery difficult for beginners—and their freedom from egregious faults was rather surprising. In Mr. Ernest Jones, Signor Cesaroni has unearthed a baritone ot "•ood promise. Mr. Jones has a strongfibred, well-placed resonant voice, with plenty of.power and commendable flexibility. Ho sang the difficult declamatory Prologue to “1 Pagliacci” very well. He was deservedly encored, when he sang "Still As tho Night.” In the second part lie gave life to the well-known Haste to Vengeance” solo, from Donizetti s "Ludrezia Borgia.” Here it should be stated that tho recital was almost wholly operatic—a natural corollary to the teacher’s training and experience 1 many lands. The bass singer, Mr. Les Daniell, pleased best. He lias a light voice, which wants bringing forwardbut the manner in which he addressed 2'ch of his numbers was distinctly pleasing. In the first part ,he sang Qin Ade-o” (in Latin, curiously enough), from Mozart’s "Magic Flute,” and as an encore sang a little Mozart '‘Serenade.” He had insufficient power for a telling reading of "The Two Grenadiers," though his interpretation accordI cd with tho best canons. Mr. Robert I or teous, the tenor, allowed ■nervousness to discount evenness in tone "Mattinata” and also in Obstin.ino i hi' pianissimo was all but inaudible but. he showed penetrating resonance in the hi-her oetavy. His is a voice well worthy" of attention—tenors ore so rare. Another performance of bright promise is Miss Evelyn Harris, «... mezzo, who has distinct ability wedded to platform vitality. Her °ne rather huskv and vibratory M first, but Vorreste" as an encore, and m Ro - ond part lent piquancy to the Haban nra” from “Carmen” (Bizet). Mies sang the prayer from La I°°®°- _ re?” and "On® Fine Day.” from Puccini’s "Madame Butterfly,’ with some faCil -hd bv BignalL "facile ‘She; Played sbowy h Moskovigor B and P Srance’ n and had to respond to an encore. Cesaroni himself was never m better voice He undertook n heavy task in sinzing the great chorale, and the succeeding "Piff-Paff” eolo- from Meyerbeer’s "Los Hugenois.” a fine opera b it seldom heard. His big organ tones rol - cd rich and free in tho chorale and in e spirited "Piff-Paff. ho infused a world of vital humour, concluding on a long-sustained G above the stave a remarkable note for a heavy basso. Later he threw off the trammels of the concert platform, and " ing to file prologue to A erdi s Otoll >, v acting tho part of the jealousy-dis-teacted Moor of Venice. lie also sang a merry drinking sung from Mraar “Magic Flute,” “My Dreams” (lost.), and the jolly "Da Vendetta,’ from ta Nozze Di Figaro (Verdi). Mr. ( ,lfl Whittle supplied the accompany "Tnother recital will be given this evening.