CESARONI CONCERT.

Taranaki Daily News, 3 August 1920, Page 5

CESARONI CONCERT.

AN EXCELLENT COMPANY. The promise of a,feast of music of an inspiring nature is' always a sufficient lure to attract a large assemblage of the music-loving public of New Plymouth. Consequently, the fine audience which assembled at the Empire Theatre j last night may be accepted as a matter ■of course. And the excellent fare provided was ample reward for the evening's pilgrimage. Cesaroni and his supporting artists constitute an excellent combination. Their offerings, vocal antl instrumental, are of a high standard. They soar at times into ■ the strictly classical, but judiciously temper this by the presentation of numbers of a popular order, without pandering to that which may be termed cheap or tawdry. The programme throughout was entertaining to a degree, and also carried a high educative value. Cesaroni does not come as a stranger. Two years ago he appeared with Cappelli. the fanious tenor, and on that occasion he was recognised as a master of song. On making his re-appearance last night Cesaroni met with a most cordial reception. His first number was "Infelice tu Credevi", from Verdi's opera, '•Ernani", sung in masterly and artistic manner. Responding to imperative demands for. further items, Cesaroni sang "0 Sole Mio", a Neapolitan serenade, and an aria from Mozart's "Don Giovanni". Later on Cesaroni sang Schumann's' "Two Grenadiers", and also "Haste for Vengeance", from Donizetti's "Lucrezia Borgia". Encores included Balfe's "Laughing Song" (from "Rushy Beds of Silver Nile") and Tosti's wellknown song "Parted", and a further aria from "Don Giovanni". The foregoing items naturally afford great scope to a vocalist. The forms call ftr the highest in interpretive ability, and it was here that Cesaroni shone. He has a magnificent bass voice, full, rich, well produced, and of extensive range. Cesaroni uses this voice as an artist. Whether iu a softly flowing legato passage or in dramatic and declamatory senI fences, his inherent artistry is apparent, and his masterly interpretation conveys | in each instance the true meaning of the words, and the spirit of the music. The soprano of the party is Miss Vera Carew, with a voice of sweetness and j purity, evenly placed and revealing a pleasurable quality. Miss Carew was heard to advantage \in • "The Flower Song" from Gounod's "Faust" and Braga's "La Serenata." Encore numbers included "Fairy Voices," "Babe o' Mine," and "Of the North I Sing." M. Ivan Tarbayeff, the Russian tenor, also belongs to the lyric class, and was heard to good effect in "La Donna e Mobile," from "Rigoletto." There is a remarkably brilliant young violinist with this company in the person of Miss Gladys Vincent. This clever .young lady, not yet fourteen years of age, plays like a veteran. Skilful iu execution, and temperamental in her interpretations, Gladys Vincent essays two difficult compositions with the success of a more experienced artist. The intricacies of Krcisler, Mylnarski, and Musin wore handled with rare ease, and this gifted young artist scored a success immediate and .secure. In addition to solo numbers, Miss Vincent also supplied two delightful violin obligates to "La Serenata" and "Babe o ! Mine," sung by Miss [ Carew. The accompanist to this most artistic coterie is Miss Rosa Walton, who is undoubtedly one of the finest accompanists yet heard in New Plymouth. In addition to her task in accompanying in a most sympathetic manner, Miss Walton also contributed a series of entertaining songs at the piano. Endowed with a winsome and charming personality, Miss Walton fully captivated her audience, and in numbers showing direct contrast, such as "Naughty Little Word" and "Billy Boy," revealed artistic ability and intellectuality above the average. The company are .to be congratulated on introducing such a clever artist as Miss Walton. Cesaroni and, his party will appear again this evening in a comolets change at nrpgrammsj