ANTONIA DOLORES.

Auckland Star, Volume XXXVII, Issue 262, 9 November 1906, Page 2

ANTONIA DOLORES.

OPEXLNG CONCERT,

ENTHUSIASTIC WELCOME

That sweetest of singers and queen of son' T , Mdiie Dolores, who has so often charmed Auckland musical audiences, c-ommenced her fourth New Zealand tour in the Choral Hall last evening, before a large audience, and was accorded a very enthusiastic welcome. From first to last the immense popularity of the illustrious songstress was made manifest in every possible manner. As she came forward, bowing and smiling in her own inimitable way, the audience showed eloquently enough what absorbing interest centred in her appearance, for she was greeted with unbounded applause, the enthusiasm lasting some moments.

A great programme of twelve vocal numbers was presented which, displayed to splendid advantage the marvellous versatility of the singer's style. The whole performance was a very beautiful one, every item being performed with the greatest finish. Mademoiselle's rendering of each number may be described as the perfection of speech in scng, each word was pronounced with a justness of emphasis, and with an air of assured confidence which carried conviction to every heart. A great hush fell upon the audience as the lovely cadences, now pathetically persuasive, now thrilling in their intensity of emotion, rang out in golden tones which made the spell-bound audience wonder if it could ever be excelled. It matters not whether the air be set in long drawn intervals, or it be a passionate iove song, or. a dainty album leaf, or a scena requiring the utmost facility of execution, or a restful lullaby, or a dainty tripping noturno, or a theme requiring depth, power and devotional interpretation, the singer's method and style can easily overcome any demand made. The talented songstress sings as clearly in the German, Italian, and English languages as she can in the Parisian, her mother tongue. To vocalists especially, Mademoiselle's method, style, and interpretation is a great lesson .which no singers should fail to avail themselves of. In listening to the talented nightingale's performances, one is struck with the ease in which she overcomes every difficulty, all i the detaiUis of iher finished __fch_.ique | are united and made subservient to tne ! sole object of faithfully portraying the j subject in hand, and making it clear and ! intelligible to the listener through the | strength of her own charming person- ' ality. To her the art of singing is but a means to an end and interpretation is i the goal. A melody is to her a string upon which hang the flowers of vocalisaj tion. She plays on her listeners as ! Paderewski or a Friedenthal can on the pianoforte, while very charming is the ; simplicity of her style and the easy manner in which she establishes a cordial I feeling with those before her. Listen to her lovely "songful legato" and beautifully rounded off, sustained tones, and you find in them warmth and transcendant feeling for beauty which merge astonishment with virtuosity in admiration for the famous artist. She has a deep artistic enthusiasm which causes everything she interprets to appear as much the inspiration of the moment as though :it were a spontaneous production of her own. In the §eale passages .her ! voice moves evenly and clearly, and '■ there is no abnormal effort of am' kind, ! but only that natural action that takes | place in the larynx when changing the I position and tension of the vocal cords in-order to vary;the pitch. Her rich, full dulcet tones, easily fill the spacious hall, and even the pianissimo notes possess that carrying quality as to be easily distinguishable in any part of the auditorium.

Mademoiselle's voice has greatly improved, the middle and lower note's are broader and heavier in timbre, which enables her to sing emotional and lyrical songs with greater breadth and power. Ten years ago, when she first appeared here, it will be remembered that the singer was all for technique, and sang mostly in the florid style; now she is equally successful, either in a light, fleecy, clouded scena. like "The Shadow Song" or in a piece like that great test of endurance. "Absence," by Berlioz, which requires breadth and change of vocal colouring which only can be given by a great vocalist to make anything of the song.

Parcell's old English aria, "When I am Laid in Earth," was given with breadth and force, and was a fine example of sustained singing. Bassani's old Italian love song was delivered in a charming manner, while special features were the long-holding notes vocalised in the same breath, and the charming phrasing, while very beautiful wa3 the counter theme in quaver delicately played by the pianist. Frank's "Sei Nui Still" received a rendering of much fullness, and served admirably to display the middle and lower notes. Arnes ''The Lass with the Delicate Air," was delivered with an archness, vivacity, and tenderness which fairly carried away the audience, after which the accomplished singer was presented with several handsome floral tributes, and gave as an encore Scarlatti's "Spess Vi Bra." That most difficult of vocal waltzes, the "Shadow Song," "Ombre Legere," by Meyerbeer, was magnificently vocalised; great facility and grace _were imparted in the florid parts, and the soft cadences of her voice floated through space with extreme sweetness in the lovely andantino movement. The bird scena, from Leoncavallo's opera, "Pagliacci," "Stridmo Lassu," received an indescribable delivery; it is a remarkable exercise in vocal power, range and gymnastics, written for an exceptional voice; however, the technical difficulties were easily surmounted by the singer's all-conquering powers. Her fine sense of feeling enabled the cantatrice to display in golden-tones the main difficulties and contrasts, so that the listener had a perfect idea of the composer's meaning. The embellishments wer : as clear as crystal, and every interval was sung in perfect tune, while the distant singing portraying the birds flying away in the far distance, was exquisiteiy achieved, and the accompaniment depicting the birds flitting from tree to tree was charmingly played by the -pianist. Mademoiselle also gave magnificent readinjrs of the German lieders "Die Lotusblume," and "Der Nusbaum," by Schumann, and was very successful in that heavy song by Berlioz, "Reyiens Ma Bien Aimee!' 5 a number requiring much breadth and power for its effective j delivery. Great passion was displayed in the rendering of it, and some fine tonal contrasts were made, while the pianissimo singing and phrasing of. the:air. fulfilled every desire of the musician. It was a triumph of finished vocalisation. No sooner had the final cadence faded »way than the audence applauded with warmth which continued' until Dolores returned and contributed . Rubinetein'a "Dew Drop." Mademoiselle was

also heartily and deservedly applauded after her finished interpretation .of Haydn's "My Mother Bids Mc," Bishop's "Bid Mc Discourse,' 1 and Horn's "I've Been Roaming." The pianist, Mr. Frank Wells, is a . very, accomplished musician, and he makes an ideal accompanist. He secures a lovely cantabile, and his scale passages . axe of beautiful pearliness, while his oc- . taye and chord playing is complete in every detail, and all is achieved without any mannerisms. " The accompaniments were piano solos in their way- and these were charmingly played, and he gave finished interpretations of Listz's 12th Rhapsodic, and Chopin's C Sharp Major "Fantasie," receiving after each hearty encores, which were Balakerew's "Intermezzo" and Chopin's A Major "Prelude" respectively.

To-morrow evening Mademoiselle is to sing "I Know That My Redeemer" and Thomas' "Polacca," from Mignon.