DAME CLARA BUTT

Evening Post, Volume CXI, Issue 26, 1 February 1926, Page 10

DAME CLARA BUTT

AN OLD FAVOURITE REAPPEARS

How many singers on the English conceit platform to-day—or on any other for that matter—enjoy the popularity that Dame Clara Butt has? It is indeed difficult to think of any who have so endeared themselves to the masses of the people. It must be twenty years since the famous contralto first appeared in New Zealand, and since then she has revisited us several times at intervals of a few years. And still there is no sign of her popularity waning or of her vocal gifts deteriorating. Her great voice seems to have all the richness and beauty of former years, and in Wellington at any rate, to judge by the warmth of her reception at the Town Hall on Saturday night, she still retains her many admirers,, however her voice and methodu may have been criticised in more recent years in other lands. Despite another' first-night counter-attraction, Dame Clara filled the Town Hall, even the choir seats being occupied. It was apparent that, the majority of those present had had previous acquaintance of the visitor, for when she made her first appearance oh the platform, handsomely gowned, and wearing a brilliant crown of scintillating stones! it was the signal for an immediate demonstration of welcome, which Dame Clara graciously acknowledged with smiling bows to all parts of the hall. There was a further burst of applause—still before the artist had given'her first number—when the beautiful colouring of her apparel was shown off to full advantage by a spot-light from the back of the hall. The main lights were dimmed, and the platform was illuminated by small footlights. Such theatrical effects in the concert hall are unusual, and from the artistic point of view are open to challenge, but at any rate they caused the listener to feel that he was more at home and at comfort, while they tended to create an intimacy with the singer which it would be impossible to feel otherwise in so large a hall. Handel, Brahms, and Beethoven constituted the bracket in "which the great contralto voice first nave forth. The recitative and aria "Kend il Sereno" (Handel) was followed by Brahma's charming little song "Sunday." Both were splendidly sung, 1 but they, served to demonstrate only the singer's softer notes. It was in the well-known "Creation's Hymn" that the fuller and deeper tones were heard, aud the declamatory manner in which the hymn was sung made one feel indeed that;it bore a message for each and--.everyone, -especially, in the line "Give heed, 0 man, and read the sign." The artist was obliged to reappear three times in response to the applause which followed, first to receive three taagnificent floral gifts, and finally to sing with oi'gan accompaniment the hymn "Abide With He," in which Dame Clara excels herself as in most sacred songs. The second bracket comprised three acceptable offerings, by English composers,- the appeal of which lay as much in the words as in the music and the renderings, which were artistically studied. "Peace," by Erie Fogg, to the words of the noted Indian poet^ Rabindranath Tagore, was followed by a charm- : ing little number in direct contrast— "The Snowdrop," by Harold Craxton, a fairy dialogue. The useful annotated programme gave the full words of all the songs, but there was no need: to follow the verse with the singer, as every word was clearly and distinctly enunciated, and could be heard in all parfs of the hall. I This is what one was particularly impressed with in Arthur Somervell's "Among the Rocks," an arresting song, accompanied.by piano and organ, in which one found oneself in concentration undistracted by the printed word. The singer. was recalled, inevitably, and the encore number, "Three Fishers," one of the old favour^ ites which recall memories of Dame Clara's former visits, was in accord with the wishes of many, Mr. Kennerley Ruin•fcrd joined his wife in the final duet, "Dear Love of Mine" (Goring-Thomas), and this was followed by "The Keys of Heaven," which does not appear to suffer by frequent performance, and still is a favourite and popular number. Mr. Kmnford's forte is m sea songs and other light" compositions suited to his fine baritone voice. His first group was a trio in German —"Verborgenheit" (Hugo Wolf), "Dream in the Twilight" (Richard Strauss), and "Wilt Deign to be Near Me, Sir Knight" (Brahms), and cm his second entry he gave three lilting sea chanties, invested with a grain of humour—"Haul Away, Joe" (Richard Terry), "Bound for the Rio Grande" (arranged by the same composer), and, as an encore, "Billy Boy." Miss Marie Antoinette Ausßenac, the solo pianist who makes the third member of the concert party, is an artist of unusual ability, and her playing is a delight to hoar. Indeed, so rarely do we hear such accomplished playing by an artist who possesses both amazing technique and exceptional interpretative ability that one would wish to hear more of her in a programme all on her own. Her two appearances lent really refined touches to a concert which in other respects was not of such high artistic merit as one would have expected. One of the best examples of Mile. Aussenac's talent was her rendering of Saint-Saens' "Bourree" for the left hand alone, the outstanding features of which were wonderful freedom and control. The Paganini-Liszt "Staccato" was conspicuous for the fairy-like lightness and delicacy, of the treble filigree, abundant colour, and beauty of tone^ Other solos were Liszt's "Hungarian Rhapsody, No. 12," and Cyril Scott's "Danse Negre." Mr. Roy Ellett, a young Englishman, was always in accord with the singers in the pianoforte accompaniments, and Mr. Bernard Page's organ obbligati were sufficiently subdued. There will be further concerts this week, as announced.