SPANISH GRACE AND FIRE

New Zealand Listener, Volume 35, Issue 896, 5 October 1956, Page 7

SPANISH GRACE AND FIRE

ICTORIA DE LOS ANGELES’S audiences are likely to encounter and be captivated by a blend of two complementary singing personalities. There is the international artist, received internationally in any concert hall or opera house, where the language of Western music is understood. Her art is outside national considerations. But there is also Victoria de los Angeles, citizen of Barcelona; a Spaniard bringing Spain’s particular contribution to international music. Spain is a stronghold of individuals who feel their Spanishness (each Spaniard his own Spanishness) more deeply and passionately than the nationals of other countries. If you are born a Spaniard these qualities are with you all your lifein Madrid, Barcelona, Pamplona; Buenos Aires, Santiago or Mexico City -and you cannot die with anything else. Victoria de los Angeles, an _ international soprano of the first order, reaches out to her audiences with the emotional power of Spain. That was obvious at her press conference in Auckland, held the morning after she arrived in New Zealand. She talked easily about international music-she has no favourites, any good music is equally good-but the colour and- inflection of her speaking voice, her politeness and respect for the feelings of others, were the surface graces of a Spaniard. Through these surface graces the deeper power showed itself steadily; the reserve force only great artists have. One feels they can, if necessary, shiver solid matter. And because this power is communicated, the act itself stands accomplished in the minds of the audience. Only Caruso, a bit of an exSN

hibitionist, had to labour the obvious by breaking tumblers with his voice. His power may have been Italian in origin, that of Victoria de los Angeles is certainly Spanish. She was asked a question about the Spanish folk songs she _ sings, with her own. guitar accompaniment. Did she have any particular fav-. ourites? Which would she be singing at her first Auckland concert? She said no, she had no particular favourites, and she would rather not talk about which she would sing. It should remain, perhaps, a mystery. "Madame does _ not herself know," added her husband, Enrique Magrina, "she does not always use guitar ac-

companiment for the same songs. It is a matter of feeling." That is a good deal more than mere whim, Only the artist knows when she can communicate from the deepest centres of her being. And the deepest centres of Victoria de los Angeles are Spanish. 3 She was obviously happy to respond to a question in very bad Spanish about the bird ornaments on her red cloche hat. They were jilguero; she did not know the English, Neither did the questioner nor her husband, who spelt the word slowly, but it was agreed they were very like sparrows. Yes, she had sung all over South America. Buenos Aires she liked best,

still, in spite of losing fifteen days there last year, while Peron was being removed. "We could not get out," she said. "I did not arrive in Mexico City until one day before I had to sing Manon there. Mexico City is a very beautiful and cultured city, but it is so elevated, more than 2000 metres, and I must move all over the stage for singing Manon, Oh!" She put her. hand to her breast, turned her eyes up, and panted. ". . . I should die. . ." One more question about the indefinable Spanish artistic spirit, the dance of life with the song, was brought to mind by her reference to stage movement in Manon. "I do not know how — -_ —

to answer it," she said. "It is perhaps as you say. There is, of course, much movement in Spanish folk songs; movements of life, and [with a quick smile] you like them, ha?" No doubt of that. ; "It is a matter of feeling. Sometimes the guitar . .. it is better to say it is a mystery." She went down the stairs to the 1YA tecording studios for a short interview with Marina. She had played no prima donna tricks. She has no need. The Spanish fire burns steadily inside the international instrument. She knows this with surety and that is enough to fill any one life. It is a large enough life also to fill concert halls. oe