A GREAT VIOLINIST.

Sun (Christchurch), Volume I, Issue 140, 20 July 1914, Page 8

A GREAT VIOLINIST.

MISCHA ELMAN. AT THE THEATRE ROYAL. After the ice had been broken by the lesser star on Saturday night, Mischa Elman made his first series of bows to an audience which prolonged its welcoming applause. It was a series of bows, because Mischa Elman has a happy and quite unconventional style of acknowledging the tributes which audiences express in the conventional manner by applause. He gives a number of short bows, directed towards various parts of the house, and then punctuates with a full-length one. Then he resumes the short bows, punctuating them with full-length ones after every half-dozen or so. With an amiable smile on his young face, and his violin tucked under his arm, he walked right into the good graces of his audience. When he played he held his hearers captive with the golden chain of melody. The playing of Mischa Elman is a most' wonderful thing*- He is an artist who fulfils expectations, even extravagant ones. He gives himself up to his music, and pours out his soul through his violin. For him there is only one thing, and that is the music which he interprets with all the intensity of his being. He loses the man in his interpretations, just as the consummate actor lives his part. There is no posing or mannerism, but never is he Jjtill or relaxed. His body responds to the tumult or peace of his playing, arid reflects the moods, gay, tender, fiery, or passionate, which inspire his interpretations. All these varying emotions are subtly conveyed to those within reach of his magic notes, and he holds his audience spellbound by his genius.. The brilliancy of Mischa Elman's playing is'dazziing. * The technical difficulties of violin playing do not seem to exist for him. He jests with harmonics and double-stopping with a facility and accuracy which is absolutely astounding. The clarity and sweetness of the harmonics were entrancing, and the marvel increased when an air in these difficult notes was embellished by a graceful accompaniment. While the brilliancy of some of the compositions enabled Mischa Elman to display his wonderful skill in execution, there were not lacking opportunities for work where the effect must be achieved entirely by artistry in interpretation. The violinist responded in these with equal distinction. Nothing could have been more charming than the simple little melody —faintly reminiscent of a once popular song —with which he charmed his audience in his second encore.

It is not necessary in this notice to follow the violinist through his programme in detail. The three movements in Lalo's "Symphonie Espagnole" were brilliantly interpreted, just as one would expect from a violinist who had won a place in the front rank of living artists. The "allegro non troppo'' was dazzling, the '' andante'' pulsated with intense feeling, and the '' rondo'' was delightfully crisp and tuneful. Baeh's "Air on G String" was nobly done, and Paganini's "Etude Caprice," a characteristically fauciful composition, was excellent. The audience expected a treat in the '' Faust Fantasia," by Wieniawski, and it was not disappointed. The airs were given with a depth of feeling and masterly artistry which could not fail to appeal most potently to those who have even a nodding acquaintance with them. The four bracketed numbers at the end of the programme all the high standard set, an<f the audience was unwilling to depart without hearing some more. The violinist was very generous in his- response to the spontaneous tributes of applause, and his concluding encore number was presented with a humour which sent his audience away smiling. The vocalist of the company is Mile. .Eva Gauthier, a soprano. The ladies awaited her appearance with -particular interest, as the tale of the '' purple wig" had preceded her. They may be left to offer their own criticisms of this novel adornment. , Mile. Gauthier is quite at home on the concert platform, and the way in which she managed her voice, her arms, and her train was worthy of much commendation. Undoubtedly her beat performance was that of Dessauer's "Bolero," Which suited her voice and temperament admirably. It was really a most attractive piece of work,'and Mile. Gauthier deserved the hearty recall which was given her. Her first number, "Aria di Rosina," from "II Barbiere de Seviglia," had been disappointing. Her voice has the vibrato defect, and her intonation in that number had been somewhat faulty. The latter failing, however, might easily have been due to the coldness of the theatre. Even dress circle habitues were muffled in overcoats and rugs, and. the lady on the stage in evening dress could hardly have been comfortably warm. Mile. Gautljier gave the rest of her songs pleasantly enough, but only in the "Bolero" did she reach the heights of distinction. The accompanist of the company was ; Mr Percy Kahn, who is as efficient and self-effacing as any accompanist should be.