EUGENE OSSIPOFF.

Dominion, Volume 4, Issue 1086, 27 March 1911, Page 6

EUGENE OSSIPOFF.

11. Eugene Ossipoff, who gave a song recital at the Opera House on Saturday evening, is not a stranger to AVellington. Those who attended the Lawrence Campbell recitals given recently in iWellington will readily rccnll tho methods of this interesting Russian artist. M. Ossipoff is a baritone vocalist who bids defiance to all the accepted laws that ordinarily apply to vocalism. He,produces his voice in half a dozen different ways, and often on one noto. he will change tho method of his sound emission. This would condemn most singers right away nnd, that it does not do. so in. tho case of M. Ossipoff is owing to his general and particular effectiveness in portraying the emotions, in which he is aided by a big'range, some ringing head notes, rare temperamental force, and facial expression that is almost amusing in its unconvehtionality.' Of one thing there is no argument, audiences like M. Ossipoff, and that after all, js a valuable factor. On Saturday evening ho opened with an aria from Glinka's opera "Kuslan," which 31. Ossipoff sang in Russian —a ■ long and rather dreary excerpt, with a vigorous and tuneful finale that made compensation for tho, somewhat uninteresting opening. As an encore he sang "The Garden Entrancing" (Plotnikoff) translated into English by the singer, who with friendly frankness admitted that his translation might be stiff. He next sang a fino highlycoloured aria from Rubinstein's opera "Demon," which the artist prefaced with a brief sketch of the incidents leading up tn the number. It was impressively suns nnd earned an encore, "My Lady Fair" (Gregh), and the vocal jokelct "Philosophy" (which lias been working overtime lately) were also sung. It was. hewever, in tho second part of the programme that tho real Ossipoff stood revealed. After the sombre love song, "I'd Speak No More," a lmisicianly number, ■ carefully and expressively sung, he shook off tho shackles of conventionality in a "Russian folk danco song," which breathed the soul of a wild Cossack dance, tho tempo increasing gradually until it enthrals with its very madness. In response to (enthusiastic applause, M. Ossipoff responded with another lively excerpt from Russian folk lore. His next contributions were two Siberian love songs, oi;fc sombre number with the noto of poignant grief, feelingly depicted, the other a droll ditty, telling (vide programme note) of 'a' robber "whoso wickedness could not be cured by punishment, and even in the dark and gloomy prison he is- thinking of escaping and robbing someone immediately" As encores he sang a. captivating waltzy song, and a Russian Gipsy song, trucly Slavonic in temper.

J[. Os-sipoflf was assisted by Miss Jna Gow, who displayed considerable, digital grace in Chopin's "Etud? in A Flat," and "Valso in D Flat," without realising the "poetry that underlies." Miss Gow gave a very fino exposition of Liszt's beautiful "Etude de Concert," which she ployed with Rood feeling and executive finish. Miss Lillian Edmonds, a soprano whose roundness and tone suffered by a nervous vibrato which "edged" her nodes, sail? tho familiar _"Bel Raggio" aria from Rossini's "Semiramide," and supplemented it with Hie prettv ballad "Invitation." She also sang "The Mission of a Rose" (Cowan), nnd the playful ditty "May or May Not." whicli lacked the comedy spirit. Miss R«nee Lees, who lias a small and sweet-toned voice of fair quality, was associated with M. Ossinoff in a "Nocturne" by Grotlsky. Miss Lees also played tho accompaniments nicely. .At this evening's concert, M. Ossipoff will sing "Don Juan's Serenade" (Karjrarnoff). tho '.'Knight's March" , (filinkn), the prologue from "I Paliacci" (Leoncavallo), and the Toreador's song from "Carmen."