ENTERTAINMENTS

Evening Post, Volume LXXXIV, Issue 71, 20 September 1912, Page 2

ENTERTAINMENTS

DE CtSNEROS CONCERT' COMPANY. In almost every direction the, second concert give^i by the De CisneTos Concert Party at the Opera House last ■evening was a greater success than 'the opening night Threatening weather notwithstanding, the audience, was more expansive and certainly more spontaneously appreciative and sympathetic. In variety, contrast, and character" the programme made a more comprehensive appeal^ Classic operatic selections were associated with songs of distinction, and beyond these were, the popular 'cello solos of Mr. Liebling, and it is only, just to add — the scholarly accompaniments of Mr. Harold -Whittle. The regal mezzo-soprano gave off her voice lavisliJ ly. Strange to recount, ahe did not fairly rouse her audience until her la6b number, "0 Don 'Fatale (Don Carlos)," a Verdi selection. Here, De. Cisneros's interpretation was more in keeping with her reputation than anything she > had yet submitted' in this city. She' approached this number with an excellent confidence and spirit, and a brilliant rendition received unanimous and fervid appreciation. In her opening number,, tn© well-known, "Softly Awakes My Heart," from Saint-Saens's opeTa, "Sameon and Delilah," De Cisneros hardly suggested the passion of the either the music or th© words. There- was a. too, great repose, almost a coldness, a lack of fire. Madame's top register here, as 'in several other selections, was expressive of overwork^ of tiredness.. Her attack was uncertain — there was a suggestion of a "feeling" for the notes which made for cloudiness, at times uncertainty, and a sharpening that was not pleasing. The "Aye Maria," with 'cello obligato by Mr. Liebling, proved the singer's rich . round lower register. It was well done, with a devotional spirit and rervour that rang convincingly. Do Cisneros's succeeding) numbor was & beautifully hysterical composition, "The Cry of Rachel," by Mary Turner Salt-er. The song breatheß of tragedy, and goes from challenge to a pitifnl entreaty. . The- dark beauty of the opening stanzas was somewhat maTred by a too-hurried tempo, bnt De Cis&eros, who improved notably as she continued, found nerself dramatically before the powerful finale: "Are you grown bo deaf that you cannot hear? . . . You must in 'pity come open the door. Death let me inr' "La Danaa" (G. W. Chadwick) relies more on a brilliant accompaniment for effect, but "The Rosary" (Nevin), with which De Cißneros concluded the first half of the programme, proved a gem, in which the cantatrice showed to excellent advantage her voice and her art. Gathering strength (if the figure be allowed), she displayed a vivid conception and faultless taste in "From the Land of the, Sky-Blue Water" (Cadman)." a picturesque Indian melody, and "The Birth of Morn" (Leoni), another cameo. Outside encores, the - soprano's other numbers were "In' My Little Garden" (Nutting), and ClutsamV "Ma' Curlyheaded Baby."- The latter was one of her least successful effort*— the descent from grand opera to a coori eong is not easily achieved. A popular encore number was "Killarney. The success of M; Paul Dufault, the lyric • tenor,) on the opening night confirmed and »empba6ised last evening. M. Dufault's methods are an example to all vocalists. Hjs voice is full of melody, and is in perfect discipline. He is no loud-tone artist. His phrasing is facile and faultless, his interpretation betokens a poetical 1 and vivid conception. It may be said that M. Dufaulvs vocal metier is lyric. His first, number, /'Lend. Me Your Aid" (Gottriod) strengthened this proposition. Little slips^ — noted, since the tenor trips so rarely— -a» '"mi-hine" (foi» ; "mine") . and div-hine" .(for ''divine") were minor detractions. Encored, Mr Dufault gave a limpid- descriptive boat'aoingft introduced last Tuesday. "Entreaty"- (Wilson Smith), and"'How Many Thousand Years- Ago" '-(Huhn) Were delivered with a superb clarity of tone and restrained artisty, but that uplifting song, "The Trumpeter" (Dix) "simply ' brought the house to its feet. Before the last; clarion notes had died" away, the audience broke into unrestrained plaudits. It was so well merited. M. Dufa'tdt has a rare vocal instinct and '.an inspiring voice. A -round silken tone and unusual technique were the chief features of Mr. Liebling's 'cello performances. These were made more obvious in a Chopin "Nocturne," and the "Spinning Song" (Popper). Mr. Liebling was Tecalled after every number. /Mr. Whittle's diecroet and delightful- accompaniments have been already noticed. The farewell concert will be given in the iWn Hall this evening. The programme is given in, our advertising columns.