MISS AMY CASTLES

Auckland Star, Volume XXXIII, Issue 112, 13 May 1902, Page 2

MISS AMY CASTLES

JFIKST CONCERT

Aucklanders interested in the first appearance here of the much-talked-of songstress, Miss Amy Castles, were afforded an opportunity of hearing her and forming- their opinions as to her musical capabilities last night at the Opera House. This event has been looked forward to with more than ordinary interest, owing to the suddenness with which the singer has sprung into fame, and, in no small measure also, to the extraordinary "booining" that has preceded her adr vent. At this stage it is quite unnecessary to go into details as to the auctioning of the seats, the Australian and New Zealand performances, or to the past career of the visitor, all this has been said, and most efficiently. What now remains to be stated is that the Opera House contained a large audience, and that many had to be content with chairs on the stage. They were most enthusiastic, and received and applauded each performer alike. There were many faces present not usually seen ac concerts of this character, while vthe more musical element was conspicuous by its absence.

As Miss Castles entered to sing her openingl aria, which was "Ophelia's Mad Scene" from "•Hamlet," by the eminent French composer, Ambroise Thomas, she was very warmly welcomed. The solo is a remarkable exercise in vocal power, range, and gymnastics, written for an exceptional voice, and was one well suited to exhibit the performer's abilities. She came through the ordeal successfully, overcoming its intricacies with ease. The florid intervals were given with much agility of voice, the scale passages were sung neatly and with purity of intonation, and a deal' of dramatic energy was shown in the .declamatory bars. Her C sharp in alt. at the close penetrated through the auditorium with clearness, and her general conception of the solo was praiseworthy. At its termination Miss Castles was heartily recalled, and after bowing- to her listeners several times sang as an encore an Irish folk song by Poote, with much taste. Bizet's "Romanza," from his opera "Pecheurs de Perles" —another florid air—gave the singer a further opportunity of displaying- her. voice. The rapid flights of notes were given with purity and- resonance, and the extensions and embellishments were marked displays of careful vocalisation. Her pleasing reading of the scena elicited for the songstress a perfect storm of applause, which lasted some moments, whereupon she came forward and sang with simplicity and sweetness "Home, Sweet Home," which performance again occasioned much enthusiasm at its conclusion. Miss Castles is only 20 years of age, so she has youth on her side. She is of medium height, carries herself well, has apleasant stage appearance, and is unpretentious in her manner. She is most certainly the possessor of a fine natural voice, has a good ear, and musical taste and sensibility. Her middle register is resonant and clear, and the acute notes lively and brilliant. As to the chest notes, they are weaker in tone than the other portions of her voice, not being as yet majestic and grave as they will doubtless be, as her voice further develops. The quality is clear, resounding, flexible, and wealthy in extension, and unites sweetness with power. Her intonation—one of the most important elements in sjnging—is just and generally correct, while her powers of respiration, though good, still leave something- further to be desired. There is no perceptible break between the one and the other of the different registers. The quality of the voice through all its extension from the grave to the Acute is even, which proves of great advantage to the vocalist when she is singing a solo in eantabile style. Her range is largo, and she sing's with freedom, and soon becomes in touch with her audience. With all these natural qualifications it is a great pity that she is neglecting- her studies by undertaking this present tonr, for though she sang her music well last 'iiig-ht, judg-ecl in the light that she Is only an advanced student, she has yet a very great deal to learn, and must remember that a mere singer will never be a great cantatrice. It is irecessary to be generally acquainted with the art, to have earnestly and thoughtfully studied the music of the great composers in every style under the best masters, to possess that knowledge of the principles of composition which is requisite in order to grasp the plan and formation of their works and to cultivate the taste by a familiarity with the practice of the most accomplished performers. Then, and not till then, can she over hope to rank as one of the world's "stars."

Next must come the matchless vocal work of the young Italian tenor, Signor Carlo Dani, who won such golden opinions for himself in Australia when he was performing *Avith the Williamson Grand Opera Company. TTis fame reached Auckland some •time ago, and when it was announced that the Company had abandoned their New Zealand tour, universal rpgret was e>rpressed, coupled with the fact, that now we should not hoar the famous tenor. Hiiwever^ we have heard him, though noj in gr&nd opera, which is. very regrettable. Still, we are thankful to have an opportunity of listening to his superb voice, if it /UN only on the concert platform, and it is owing no doubt to the fact that Signor Dani. is included in tlie Company supporting Miss Castles that so much interest has been shown in these performances in New Zealand. Not since the famous tenor was here many years ago wffh the Grand Opera Company have Aucklanders had a chance of listening to such a splendid tenor. His voice is of rich and pure quality throughout its extensive compass; the head notes are particularly clear, full intoned,, and expressive and manly in character, while his lower notes are round and full, and every inflection is under thorough contro]. His power in the great art of respiration enables him to sustain his notes any length he desires. The way he can make the sound "spin" in intervals of long duration is quite a study in itselt commencing as he does with the utmost pianissimo, and gradually working up to the greatest forte, returning to the way he commenced, leaving the ,note witli frankness, showed his splendid command in the art of taking breath, and of economising it, so that he could hold and colour the sound as he willed it. His

elegant iise of the vibration of the voice, passing from forte -to piano, lent great colouring- to his musical phrases, and it : -was so artistically accomplished that ho jerk or violent action was, felt. His portamento of the .voice is done -without affectation or. grimace, and there is no perceptible break in the connecting of the registers. He intones with, certainty and exactness, and his deportment is dignified and easy. He selected as his first solo the passionate aria for tenor, "Salve Dimora Casta c Pura," from Gounod's "Faust." This he phrased and sang in a most artistic and pleasing manner. In it bis legato singing was quite a feature, and the declamatory passages were given with exceptional force and power, while the high note C rang through space with as much clearness as the tones of a clarion. A vociferous recall followed this effort, and after bowing- his acknowledgments three times he returned and sang in the most delightful fashion the beautiful "M'Appari" from Flotow's "Martha." He also secured a big success in that tender and lovely romanza, "Spirito Gentil," , y from Donizetti's opera, "La Favorita." This'again aroused his auditors to a display of unrestrained enthusiasm, and they would not rest content until he had sung- Verdi's "La Donna c Mobile.' The light tripping measures were beautifully expressed, and sang as only an Italian knows how to sing them.. The finale was most vigorously given, and a great success was made of the head note* B flat. Another encore was demanded at its close, which resulted in the artist singing- the concluding- verse of the same solo ag-ain, Italy's grand maestro's duo, "Pariga o Cara," from "La Traviata," which is a close copy of the final duo in "Trovatore," between Manrico and Azucena, received a passionate and dramatic delivery. The harmonious manner in which the voices blended, and the delightful and artistic style in which it was phrased by Miss Castles and .Signor Dani, left nothing- to be desired, and proved as enjoyable as anything- in the programme.

Miss Una Bourne, a pianist of exceptional taJent, gave a poetic rendering of a Chopin "Nocturne," and displayed firmness of touch in Paderewski's "Cracovienne." She also gave a finished and artistic performance of Liszt's "Hungarian Fantasia," Herr Benno Scherek most successfully playing- the orchestra part on another piano. Miss Bourne lias a splendid technique, she secures a beautiful eantabile from the instrument, and has plenty of wrist power for chord and double octave passages. A little less gymnastics of the hands and arms would add considerably to the pleasure that her performances give. Miss Nora McKay was warmly applauded after her playing- of the solos "Souvenir de Haydn," and Saragate's "Zigeunerweisen." She gets a good tone from her violin. bows freely, but her intonation is not always absolutely certain. Miss Maud Dalrymple possesses a pleasant contralto voice, she sing-s with taste, and was well received by the audience- Her solos were Ayl ward's "Beloved, it is Morn," and Tosti's "Ask Me No More." After each contribution she was much applauded, and as an encore to the latter song- she sang- one verse of "Ben Bolt." Mr 11. Needham, the baritone of the company, gave with acceptance White's "The Devout Lover," and his delivery of Mo-ir's ballad "Best of All," so delig-hted the. audience, that he was obliged to g-ive an additional solo, which w-as the air "Loch Lomon d;" this again so pleased his listeners that they insisted upon a further contribution, which was acceded to by the singer essaying part of the latter number again". Hen- Berino Scherek acted us musical director, and most ably .and artistically played the piano accompaniments-