SINGERS AND FLAYERS

Auckland Star, Volume XLII, Issue 149, 24 June 1911, Page 14

SINGERS AND FLAYERS

The Sydney "Daily Telegraph" critic is enthusiastic in his notice of the Sheffield Choir's first performance of "The Messiah." He says: . l"Dr.- Coward's reading of the work is quite traditional, and yet there are many features in it which demand attention. His beat is thoroughly confident and firm, and roused to nervous energy in such moments as that of the great "Hallelujah" chorus, w"aicTi carried 'the house by storm. He controls his little army as a great pianist does Ms instrument, producing from it the most wonderful shades of colour and expression. • The fact that impreees one first and always about this choir is its vocal quality. This is so rich and beautiful in all divisions of the chorus, the balance is so true, and the unanimity of attack and modulation is such that, except for the volume, of course, one might well imagine some great quartet to be singing."

Mr. John McCormack, the great Irish tenor, who accompanies Madam Melba to Australia, was born at Athlone, in Ireland, where his parents still reside. He received a good education as the first idea was to make him a priest. However, as time went on he showed 'that he was the possessor of a sweet, natural voice, and very soon in his own district he became quite celebrated. The money he earned r enabled him at last to have his voice' trained and his next move was to gain a reputation in London. The fees, which flowed in in London, made it possible for him to go to Milan, and there he studied- under Sabatini. He appeared in opera in London as Tariddu in "Cavalleria Rusticana" in 1907, and from that hour his fame and fortune was assured. In a week's time after liis, first operatic appearance all the London musical world was talking about him, and were warm in praise of his beautiful voice, his fresh complexion, his blue grey eyes, and his charm gener- . ally.

Much attention is directed in Sydney to the condition of Armes Beaumont, the very sweet singer of former days. The ancient is 70 years of age, and through an early gun-accident, can only now see with half an eye. In view ot his professional jubilee, which is to happen this year, a strong committee is arranging to get in subscriptions on his behalf. John Madden heads the movement, and Melba is giving financial support.

"A musical instrument" (says Sousa), "is a good deal like a gun—much depends on the man behind it."

In his reminiscences, John Philip Sousa, who is shortly "to visit the Dominion with his famous band of> over 60 performers, under Mr. Edward Branscombe's direction, speaks of the reception of America's anthem in the land, of the Great White Czar:—There have been instances when I have played the national anthem, in which the intensity of public feeling and patriotism of the audiences evoked great enthusiasm, but I can remember no instance where the song was received with greater acclaim than in Russia. During my tour of Europe in 1903, we were in St. Petersburg on the Czar's birthday. When I came to my dressing-room in the Cirque Cinicelli, which corresponds to our New York Hippodrome, I was waited upon by ,the secretary of the prefect of the city, who requested that I open my performance with the Russian national anthem. "And," said he, "if it meets with a demonstration, will you kindly repeat it?" I said I would. "And," continued he, "if it meets with a further demonstration, will you repeat it again?" I said I would repeat it just so long as a majority of the audience applauded. The audience consisted almost entirely of members of the nobility and the military, with their wives, sweethearts, sons, and daughters. At the playing of the first note the entire audience rose and every man, almost of all in uniform, came to a salute. At the end of the;, anthem there was great applause, and I was compelled to play the air four times before the audience was satisfied. On retiring to my dressing-room at the end of the first part, I was again visited by the secretary, who told mc it was the wish of the prefect that I begin the second part of my programme with the national anthem of America, and that he would have an official announce to the public beforehand the name and sentiment of the song. Before we began our second part, a tall Russian announced to the public the name and character of the words of the "Star-Spangled Banner," and I have never heard more sincere or lasting applause for any musical number than that which greeted our national anthem. We were compelled to repeat It no less than four times, with every one in the vast hall standing, and the military men holding hands to their caps in the attitude of salute; and I am sure that no body of musicians ever played a piece with more fervour, dignity, and spirit than our/boys did the "Stan-Spangled Banner" in the capital of the Russian Empire.

In a recently-written apreciation, Mr. George Cecil placed Charles Santley, who is retiring after 54 years of singing-, at the head of English singers. Mr. Cecil says: "It has been said that no Englishspeaking artist has ever sung Italian as he could; his French diction satisfied experts; and he sang in German—in a manner which renders that usually unvocal medium almost pleasant. Under these circumstances, it must surely be admitted that Charles Santley was unrivalled. The characteristics of Santley's voice were a unique compass, great agility, and a resonant, sympathetic quality that placed him far. above his British contemporaries. Several baritones have developed upper notes which are the envy of artists who find 'Eri .tu,' 'Di Provenza,' and 'Dio Possente' too great a tax upon their resources. But none have acquired the lower -notes of Santley, who, in his best days, in addition to singing the A above the line as easily as though it were the corresponding note in the middle of the voice, could get plenty of weight on the F, the E also being within his remarkable range. With so extensive a compass, it goes without saying that the most exacting baritone music had no terrors for him. As to his method, it yielded the best results.- Favoured with" particularly well-developed resonating cavities— round about the nose, mouth, and cheeks, his ■production always has been a welcome contrast to that of less fortunate performers. Added to this, his singing (even now) has a charm which is all too rarely associated with the work of his would-be successors. And, like Fugere, be has style—the trait which remains long after the voice has lost its pristine freshness. It is sad to think that, beyond many happy memories of his art, no actual souvenir of his voice is obtainable. When Santley was in his prime the phonograph had not attained its present perfection, and a. suitable record, conse quently, was not obtainablo."