HISLOP DELIGHTS

Sun (Auckland), Volume I, Issue 193, 4 November 1927, Page 15

HISLOP DELIGHTS

SUCCESSFUL CONCERT

The Town Hall was well filled last night, when Joseph Hislop made his bow to Auckland. He was showing traces of a cold, but soon proved his strikingly attractive and individual quality. This is one of those rare singers who could still delight us if his voice had entirely gone—as his voice has not, of course. Yet it would be unfair to judge Mr. Hislop, purely as a vocalist, on last night’s showing. His production is based on the use of much nasal resonance; and when the nasal passages are obstructed, his ,tone becomes not fully effective. His use of the upper notes, like the high C in ' “Che gelida manina,” seemed unwise in these circumstances. But reliable report lias made it plain that

“nosiness,” and most other technical faults, are far from usual in Mr. Hislop’s practice. We may expect to hear much purer tone when his malaise has passed over. But tone is evidently—and rightly—not the most important part of this singer’s view. His voice impresses us first as the vehicle of a sensitive, poetic and humorous personality; much less as a musical instrument. Mr. Hislop departs a good deal from the traditional type of operatic tenor. His figure is much more seemly, liis enunciation vastly clearer. He is not so preoccupied with amour—no fewer than five of his songs dealt with other emotions. And he is intelligent and quieji-witted as these singers are not always. Whatever truth may be in the old French saying, “bete comma un tenor,” Mr. Hislop seems to contradict it with each movement of his invaluable eyebrows. Perhaps, indeed, he uses too much facial expression and gesture, as he sometimes underlines an effect too strongly with his voice, or overstresses a climax. But these may help the imperceptive ones to catch the spirit of his songs; and Mr. Hislop is an artist exceptional enough to be allowed his little foibles. The programme, exceptional, too, contained only one quite poor thing, and that not so very bad a ballad. First was Beethoven’s “Adelaide,” and Mr. Hislop treated the glorious old song with fine feeling, though his voice was troubling him. Next in importance were two noble pieces of primitive art, “Lord Randal” (the Scottish form of this widely-spread folk-bal-lad), and “Kishmul’s Galley,” from the Kennedy-Frazer Hebridean collection. Both were superbly sung, but the close of “Lord Randal” was rather extravagant. “Five Eyes,” by Armstrong Gibbs, and “Go >Tot, Happy Bay.” by Frank Bridge, were two most pleasant and artistic little songs, the first inimitably sung. Very successful, also, were Cimara’s “Fiocca la neve” (a charming piece of impressionism), | and Lalo’s “Aubade” from “Le Roi d’Ys | Cyril Scott’s “In the Moonlight” i proved to be Lully’s “Au clair de la iune,” decked out in bright new hari monies, and feeling rather uncomfort- ; able. Most popular of all, perhaps, was the air from “Manon,” “Ah! fuyez, douce image,” done with judicious organ accompaniment by Mr. B.arnett. Among the additional numbers were "Che gelida manina” from “Boheme/’ a little Norwegian song, and “The MacGregors’ Gathering.” This last was thrilling enough for a Sassenach; it must have had almost dangerous effect on any member of “the landless Gregara.” Mr. Alberto Sciarretti is a pianist of i agreeable parts, but he was not quite I wise to play the Chopin Valse in C i sharp minor and Ballade in G minor, I done here so lately and so finally by i Paderewski and Friedman. Much : more enjoyable were Handel 1 Gavotte in E minor, arranged by

Martucci, and a Scarlatti study (added after the Chopin group), which had the .right neatness and orderly spirit. Sgambati’s Prelude and Fugue and Martucci’s “Tarantella” were works of no great interest, probably well interpreted. Mr. Sciarretti is a sympathetic accompanist. and .played finely in the lighter songs.