Margaret Elvines, Diana Parsons In Song Recital

Press, Volume CI, Issue 29912, 28 August 1962, Page 17

Margaret Elvines, Diana Parsons In Song Recital

Margaret Elvines and Diana Parsons were the soloists in a recital last evening in Begg's Concert Hall arranged by Miss Grace Wilkinson. Both singers have a style of voice production based on secure control of breathing, freedom from any throat constriction, and with all vowel sounds brought well forward and kept there with wellmoulded shaping. The result is an evenness of timbre and ability to call, on many changes of vocal colouring throughout the whole range of the voice Flexibility and clarity are there, brilliance comes' with natural strength without any strain, and soft and tender tones retain character and vitality. On such technical foundation interpretation can be built without physical failings clouding good intentions A feeling of security is imparted also to the hearers and full attention can be given to what is happening in the music itself, without any need to wonder why something failed to make the effect it should have. Diana Persons began the recital by singing two arias by Handel with well-control-led clarity of line. Her ’excellent artistry was shown then in a performance of Chaussons "Le Temps des Lilas.” which was deeplymoving in its delicacy of interpretation. The same can be said for her singing of Ravel’s "Trois Beaux Oiseaux du Paradis”. Sustaining of long phrases, apt choices of colour in subtle nuances, splendid clarity, and sincere understanding and sympathy with the poems made these performances outstanding. Good contrasts in style were offered in "Les Papillons.” by Chausson and in "Nicolette.” by Ravel Four songs by Debussy were also sung with sensitive artistry and a mastery of style and feeling necessary for these French songs. Disci-

pline and experience were behind every phrase, and the singer held her audiences complete attention. “Mandoline” was sung with captivating brilliance, and the lovely strains of Ferrari’s “Le Miroir” floated by with exquisite serenity. Mr Maurice Till's playing of the accompaniments gave full artistic support in every subtle effect demanded. Margaret Elvines. accompanied by Mr Till and a string trio—Kathryn Evans, Matthew Williams, and Gavin Abbott—sang “Infirmata Vulnerata.” by Scarlatti. There was warmth as well as most appealingly attractive tonal quality in her voice, and the tragic nature of the aria was dramatically interpreted. Such clarity and character in singing are very refreshing to ' hear, Miss Elvines has a contralto voice of rare promise. Congratulations must be given to the string trio, which played with precision, pleasing tone, and good intonation. Mrs Parsons began the second part of the programme with two songs by Roussel, accompanied by solo flute played by Miss Helen Colthart. These were charmingly interpreted tjy both artists The remainder of the programme consisted of lieder by Hugo Wolf. In these Diana Parsons showed again that understanding of stylistic requirements which made her French songs so interesting. Her ability to get right to the heart of the music was well tested, and she undoubtedly succeeded admirably A very wide variety of emotional response was called for, and in all points of expressive range and dramatic intensity Mrs Parsons sßbwed splendid control of a very beautiful voice, so trained and grounded that it responds to every demand with complete security. —C.F.B.