ALDA RETURNS TO HER HOMELAND

Sun (Auckland), Volume I, Issue 161, 28 September 1927, Page 13

ALDA RETURNS TO HER HOMELAND

A BRILLIANT SOPRANO SUCCESSFUL FIRST RECITAL The Town Hall con.uined a discredi:ably meagre audience lost night. wh< r* Madame Frances Alda gave the first recital of he * Auckland season. It will be a matter for deep regret if tLsecond and list recital, which is promisee. for Thursday, does not attract ;• much larger audience. For Madame AUa Is not only the most famous of New Zealar d-born singers, not y the possessor of a beautiful voice, but also an exceptionally interesting and intelligent artist.

AVith knowledge of her comparatively Ion?? and very busy career, one migV expect the \ oice to have become more **r less passee. There are few or no signs of wear, however: the tone is full of vita ity and colour—it is sai l to have even gained in richness during the last few years. As to quality, it i , a soprano rather more lyric than dramatic, jet capable of being extended and intensified to a surprisi :ig degree. In mezzo voce Madame VI i, secures some effects of unusual char a. The fuller tones were n<»t always - . nne, last night, but conditions were most unfavourable.

iJadame Alda’s work has always i ,« interest of strong personality and quirk intelligence, even where some In’ n> r m ,y foelan imperfect synmithvwith h, ~ reaclings. It has been written lwr..n-'-Srf'ififuce’ """ ®"*' who k»*>ltualiy w;is written before 1830.” Ami certainly Madame Alda was least convincing ir» her first group of 18th century song * th ough tl ese were the best things «n tho programme. Handel's o Sh a» by Dost Thou Leave Me?” <fr«>m ‘ Semele”) had passage* of delightful sing ing, bu : still with a sub-flavour of Puccini. And Philidor’s song “Jp suis qu une bergere,~ seemed to lark something of its amusingly artificial - pastoral air—this little song should evoke for us the painted shepherdess s and corsetted shepherds of Louis Quinze. One did not care, either (if it is; necessary to record these matters of personal taste*, for the interpretation of Arnold Bax’s fine “Christmas Carol.”

Tho second group of three modern songs, in as many languages, was i r more successful. Lenormand’s “Quelle Souffrance” is not very important, but it was charmingly done. “The Soldier's Bride’ of Rachmaninov (sung in Russian.* was a memorable performance, sung and characterised with sombre force. That same sense of character, and sense of the theatre, made notable the Spanish “Coplas de Curro Dulci'.” bv Obradors, a vividly, pungentlv vulgar piece of work.

There is still a. keen public appetite for “Un bel di.” from “Butterfly,” and “Vissi d’arte.” from Tosea.’ Madame Alda sang these, of course, with authority and sure effect. As for the final group—“ The Star” (Rogers), “The Birth of Morn” (Leoni), “The Singer” (Maxwell), and “The Open Secret” (Woodman) —it is enough, to name their names, and to confess that the audience appeared to like them. Among the several additional numbers binding's “Sylvelin” was delightful, and so, perhaps, was “Home, Sweet Home.” Mr. Cyril Towsey. at a few hours’ notice, tock the place of Madame Alda’s former accompanist. and acquitted himself with distinction. The trying piano part of Bax's song was particularly well done. As sc io st t\o gave admirable! performance:- of Chopin’s Nocturne in F shar.» majpr and the Preclude from Grieg’s “Holbex-g” ' Suite. R. J. B.