THE ADA CROSSLEY CONCERT.

Wairarapa Age, Volume XXXII, Issue 3092, 14 January 1909, Page 5

THE ADA CROSSLEY CONCERT.

Rarely has such interest been evinced as was manifested at the Town Hall last night, when Madame Ada Oossley re-appeared before a Masterton* audience, after an absence of five years. Although the audience was not an overflowing one, the lack of numbers was more than compensated for by ifca appreciation. Her simplicity of manner, combined with a charming presence, at once wins the hearts of the people. Last night proved that she is sUII in sympathy with her hearers. Her star is still in the ascendant. Words are inadequate to describe the song pictures she portrays. Ihe timbre of her voice is full and liquid, now like the grand notes of an oragn, and again soft and sweet as the 'cello. At times a melodious melody of meltingtenderness, at others sweet whispreigns like zephers in the wind swept [trees. Such music lends to the aar a foretaste of the ethereal. JJer methods are at once so resourceful!.;, her delighful intonation and interpretation leave nothing to be desiredi. Her introductory number wa3 therecitation and air, "Ombra Mai' Fu" (Handel). This beautiful themar was a revelation to her hearers, marked by sweetness and refinement,and the burst of applause which greeted her at its close was rewarded by a delightful encore number, "Caller Heirin." Her re-appearance at this juncture was greeted with floral tributes, which she gracefully acknowledged. The sympathetic

violin obligato, rendered by M. Leon. Sametini to the initial number, lent a glorious fulnesss to the whole. "Caller Herrin" was rendered in a manner characteristic of the Scotch fisher folk. "Through Love to Light" (Cuthbert Wynne) was, no doubt, her highest attainment. The harmonious splendour of her upper register was thrilling in the extreme, and the thunder of applause which greeted her at its close will ever be remembered in Masterton. This, number demanded a treble encore, which in their order were, "O That We Two Were Maying" (Nevin), a sweet little song full of sentiment, and its delightful harmony revealed to the full her capacity as a ballad singer. This, in itself, was a musical treat. "A New Year Song" (Mallinson), a most appropriate number, was admirably given,, so that her listeners pleaded for more, and were rewarded by that most beautiful and touching sacred song, "God Be With You." Mr Wiiliamson, besides bringing Miss Ada Crossley, has this time brought to New Zealand four other stars of the first magnitude. Mr Jay Ryan has a most pleasing manner of singing and a quaint Irish accent, wihch is most fascinating. Though lacking in richness and resource, his finished interpretation fully ' compensates for any deficiency in quality. His numbers were "The Lord is My Light" (Allusen) and "The Two Grenadiers" (Schumann). Of the two the former was the moat suitable to his range, *iid its devotional character was faithfully portrayed. Both items were warmly encored, and in response he gave "Molly Bawn," and "Off to Philadelphia." In the duet with Mr Harrison he ably sustained his part. Mr Percy Grainger's first solo. "Grand Polonaise" (Chopin) is a favourite with most professional? pianists, and it was played last night with a power and precision necessary to its military character. His effort was thoroughly enjoyed by the audience, and in response to a vociferous encore he played the charming "Bridal Procession" (Grieg). In this piece originality is required—but originality combined with a delicacy of execution. It is not surprising to hear that Mr Grainger was a short time ago chosen as solo pianist at a Grieg Festival in Norway. In the second part Lizst's "Hungarian Rhapsody No. 12" was given, and tha audience loudly encored him. As an encore, he gave "Marche Gigue." a clever piece of his own composition. To M. Leon Sametini must be accorded a large share of the honours of the evening. In his initial item the well-known "E Flat Nucturne" (Chopin) delicacy of tone and wealth of expression were at once evidenced, and the following number, Mozart's "Minuet in A," in its sprightliness and sparkling vivacity, was a, striking contrast, both numbers at once showing the violinist's versatility of tone and technique. M. Sametini never attempts anything beyond his ability, and consequently his playing is characterised by an ease and fluency of execution that tends to make the listener underrate the difficulties which are apparently non-existent. In response to a vociferous encore the violinist gave "L, Abbaille" (Schubert) with its witchery of perpetual motion. The "Polonaise in A Major" in the second part was of a more ambitious character, and gave scope for the violinist's accurate and brilliant execution, his manipulation of the double stopping and harmonics being particularly noticeable. A quaint little "Valse Bluette" formed a charming encore to this brilliant masterpiece. Mastertoh,has never heard a tenor voic& of such exceptional quality and range as that possessed by Mr John Harrison. Mr Harrison has his marvellous voice under perfect control. His pianissimos are exquisite, while he has in reserve a power which enables him to reach a climax which is sometimes most astonishing. Hii3 first number was Goring Thomas' "O, Vision Entrancing," which was prettily rendered. As an inevitable encore he gave "Because" (D'Hardelot). His second items were "To Mary" (Maude Valevie White) and "Love's Mastery." The latter was sung with as much spirit as the former was with daintiness. His encore was "Myrra" (Clutson). Last but not least the accompanist of last night's concert (Mr Harold Whittle) deserves°more than a word of praise. When one considers that the accompaniment can make or mar a solo, the effect of every item on the programme showed the result of a perfect sympathy between soloist and accompanist.