GALLI-CURCI

Evening Post, Volume CX, Issue 1, 1 July 1925, Page 10

GALLI-CURCI

THE IDpL OF A NIGHT

There is .something deeply impressive about the first appearance in any place of a great artist. Drawn together as one by tho glamour cast upon it by a name that is on almost every tongue- in every civilised country of tho world, an audience sits expectant with its interest taut to breiiking-point until that artist appears. The question that it seems to be turning over and over in its mind is will the idol be. worthy our devotion, be up to our expectations, justify all that has been said and written about it, all that has gone to make its reputation? Then comes tha moment when, the idol appears, that tensest moment of all, that moment that brings to the most impreseionable the least sophisticated member of that audience tho realisation of ideals, the standard of excellence by which all (subsequent experiences of singers or performers will be measured. One such moment evidently oame to the groat audience at tho Town Hall last night, on the first appearance of Galli-Curci, probably tho itncst example of a coloratura soprano one will over hear or hope to hear: a singer in whom is the unique combination of voice, technique, taste, and delightful personal qualities. Fortunately for her and for her audience, also for others who have not and are never likely "to hear her sing in person, the, gramophone, far as it may be from perfect, lias given tho whole world a taste of her quality. It has prepared a •path for her foet, a flower-bordered path down which she treads in person wherever, in tho two hemispheres she chooses to sing. When she emerged from the tunnel beneath the.organ last night out into the full glare of the light every eye was focused upon her, and she appeared radiant in her beauty, wearing a toilette of white which suggested silver, and in her, dork brown shining hair a high Span- , ish comb of white j silver shoes she also I wore. There was no pianoforte solo or introductory piece by 'cello or other instrument ; Galli-Curci was first on the programme. The audience was somewhat reserved—not frigid—in its reception; it_ cheered, stamped its feet, waved handkerchiefs and programmes, arid in other ways noisily expressed its delifjht before the end. The scene was inspiring, the night made memorable. Galji-Curci's programme was evidently most "thoughtfully compiled, and for re-' ference it is here given in full:—"Deh piu a.M«" (Banancini), "Se tv m'arni" (Pergolese), Shadow Song and Slumber Song from "Dinorah," "Je suis Titania" from "Mignon," and songs of Bishop, "The Mocking Bird"; of Schumann, "Moonlight"; of Staub, "L'Hturo silenoieuso" ; of Russell, "Vale'; of Homer Samuels, "Pierrot"; and of Carpenter, "The Sleep That Flits on Baby's Eyes" ; and Valverdo's .''Cla'velitos."! Here was variety enough, in all conscience. But Galli-Curci is versatile in the highest degree, giving distinction to the commonplace and imparting to her florid operatic j numbers a brilliancy that was positively dazzling. She was not dramatic or remarkably descriptive; that is, she did not "act" her numbers as ■well as sing them; but she was superb in her cadenzas, trills,' and the consummate ease with which she executed some of the most exacting florid passages ever written i for soprani. This was apparent in the j Shadow Song from "Dicorah" and "The I -Mo-iking Eh'd." One can. well imagine Meyerbeer, when ho tad written tho parts for soprano in "Dinorah," saying to himself: "There, let them see what they can do with that!" He would have been hard indeed to please if Galli-Curci did not satisfy him last night; so, too, Bishop, a specialist in shotvy writing for soprani, should have been pleas »1. She showed that she has temperament in singing of his beautiful song, "Vale,", and in the jocund patter of "Clavelitos" —a decided contrast. Her notes in general were like diamonds in clarity and , briOiancy, and her production was something to marvel at. The audience did marvel at her performance as a whole, expressing itself in demonstrative applause. GalliyCurci was the idol of the night, and the homage paid her was due ,in part to her affability on the stage. her condescension, and her kindly thought for those behind her when she turned her back on the front of the hall and sang specially to those in the choir stalls. In the matter of extras, too] she gracious and generous. Her accompaniments were played by Mr. Homer Samuels, her husband; and Mr. Manuel Berenguer played the flute 'obbligato to Bishop's "Mocking Bird,"; also the solos', Sacred Dance from Gluck's "Orpheus and Eurydice," and a dainty composition, "Woodland Sprites," by Mr. Samuel*/ Galli-Curci's second concert will be given to-morrow evening at the Town Hall.