THE CARANDINI CONCERTS.

Evening Star, Issue 3362, 28 November 1873, Page 2

THE CARANDINI CONCERTS.

A well-attended, though* not crowded house at the (Queen’s Theatre last evening welcomed 'Madame Carandini, her daughters, and their co-adjntors at their opening concert. _lt is more than three years since they last delighted Dunedin audiences with their music. Since then, one young lady—Miss Isabella Carandini —has been added to the list of vocalists, and the assistance of Mr- Gordon has been obtained. His voice is a. rich and powerful baritone, _ or perhaps light bass, and thus, with Mr Shenvin’s tenor, the role for quartettes or quintettes is complete. Nor must wo omit to mention that the comic element is represented by Mr (*otterill, a gentleman who is evidently gifted with great and versatile talent in that line. So well known are the qualities of voice of Madame, Miss Kosina, and Miss Fannie (’arandini that we need not dwell upon their peculiarities. One general remark .applies to all ; since wc last heard these ladies there is a marked improvement in style. Madame ('arandini herself seems to have gained sweetness and overcome a slight physic,al difficulty _ that used to interfere with perfect intonation in her upper notes ; and Miss Fannie’s rich contralto, now fully developed, is perfectly under command. Miss Isabella has a sweet soprano’voice, of considerable compass. After these general remarks our remaining duty is to present our readers with an outline of the concert of last evening, and the manner in which it was received. The opening overture, “ Masaniello,” was played as a pianoforte duet by the sisters Rosina and Fannie, who are both accomplished pianists. The instrument is one of Kirkinau’s grands, supplied by Messrs Begg and Anderson. The overture was very skilfully rendered. Bishop’s quintette, “ Flow, gentle gales,” followed, and served to introduce the whole of the ladies excepting Miss Isabella. They were very warmly greeted on appearing on the stage. “ lii Tauti Palpiti ” was next charmingly sung by .Miss Fannie, who executed Rossini's florid passages with case and brilliancy. Mr Gordon's “ Will-n-the-wisp ” was exceedingly well sung, every note being taken firmly, dearly, and perfectly in tune. _ The only requisite to render Mr (Jordon’s singing in every way attractive, is a knowledge of “ stage effect” -stage trick -call this indescribable something by any name that will give an idea of it: it is not swagger, nor bounce, nor buffoonery : it s a something within the man, akin to feeling, but not altogether feeling ; a sort of intuitive perception of attitude and voice m sympathy with the idea expressed in song. If lie lias it and suppresses it, he should give it vont_; if he has it not naturally, he should acquire it. In a concerted piece he is invaluable, and it is a pity so tine a voice should lack what alone is needed to place him amongst leading second part he sang “ The Blacksmith” very effectively. Of the songs by the ladies, we can scarcely speak too highly. Madame Caraudini’s “Jessie, the Flower o’ Dunblane,” was purely and sweetly sung, but we preferred “ Thou art gone from my gaze,” which was given with great taste and feeling. “ Sweet Spirit,” by Miss Rosina, was characterised by that exquisite taste ami pathos which characterise that lady’s rendering of ballads. _ Miss Isabella did not appear as a soloist Until the second part, when she made her debut in “ Should he upbraid”—one of Bishop’s florid compositions always pleasing when well sung, but distressing to listen to if indifferently rendered. In this instance Miss Isabella was perfectly successful, and carried the audience with her. They rewarded her effort with well earned and enthusiastic applause. Miss Fannie’s “ When the .Swallows” developed the compass of her rich contralto voice, and was admirably given. We have not thought it needful to specify each encore. Suffice it to say that, although a heavy tax upon vocalists, we do not think they would feel they had succeeded, unless they were invited to repeat their efforts ; and on that ground every member of the corps had every reason to be* satisfied with the expresiou of the pleasure their auditors had in listening to them; and we add our testimony to the general verdict, that the 'encores so loudly demanded and so cheerfully acceded to were deserved recognitions of the merits of the performers. The most difficult music to give effect to is an ilnaccompanicd concerted piece. There is nothing to guide in sustaining the pitch : each singer must sing every note in perfect tune, lest the harmony he marred, for there is no skilful, quick-flngcrcd instrumentalist to cover ft false 01IC ; and there must be as perfect balancing of tbe voices asif each individual were a member of a musical instrument. Families, through some similarity of vocal quality, most commonly possess advantages in that class of music. This was manifest last evening in the soprano and contralto registers, and Messrs (Jordon and Shcnvin, through practice, fulfilled the conditions in the remaining parts ably. The consequence was that the “ Blue Bells of Scotland ” was sung with absolute precision and great taste; and though not usually appreciated at their worth, excepting by trained musicians, the quartettes were deservedly and loudly applauded, W« can spare but a few words for Mr Cotterill’s fun. He gave only a few specimens of it last evening; just enough to show what he is capable of. His mesmeric seance was witty* and well done. The idea of being mesmeriscr and mesmirised is odd ; but there is no difficulty in making his subject cany out his will. He has also tho advantage of adding to the characteristic dialogue of the sleeper the tableau, rirant illustrative of tho passing thought. He twists hats and handkerchiefs about just as ingenious children do paper boats, and adapts them to suit the humor of the moment: now an invalid old hypocondriac, then a man agonising in a “mill anon a French professor, and then he subsides into an English boniface. Lastly, he comes out as a rural philosopher with a rigmarole story of country life, and finishes up with “ The Jolly Waggoner,” which brings back many a recollection of rustic vocalisation wc have heard in “ Merrie England” “ In tire days when we went gipsying A long time ago.” We predict crowded houses when the attractive character of the Carandini concerts becomes known.