TWO GIFTED ARTISTS

Evening Star, Issue 19856, 3 May 1928, Page 2

TWO GIFTED ARTISTS

AMY EVAHS AND FRASER CANOE The eight years that have passed since Miss Amy Evans and Mr Eraser Gauge last visited Dunedin have only served to enhance, it possible, their singular artistry and charm. Neither has their popularity diminished, as was evidenced by the ovation accorded them in His Majesty’s Theatre last evening, when an appreciative audience heard these two fine singers once more. They created a most favourable impression, which steadily 1 increased as their exacting programme proceeded. Both Miss Evans and Mr Gauge combine the artistic qualities oi many schools, and their distinguished characteristics are difficult to analyse. Both are equally at home in many different styles of the classic and romantic composers, in Scotch ballad, German heder, or the heaviest operatic number. Possessed of a rich and cultured voice, Miss Evans was heard to excellent advantage in the wide variety of numbers presented last evening. Her commanding presence and the extraordinary beauty of her perfectly trained voice created an immediate impression. Miss Evans has all the attributes of the prlma donna—a beautiful* fresh, flexible voice and a charming stage personality. She is a coloratura soprano versed m the highest traditions of the bel canto school, and sang in exquisite style, giving a pleasing and effective interpretation in all her work. One felt that her interpretations must bo final and authoritative. Her opening number was ‘ Porgi Amor’ (‘Love, Thou Holy Impulse’), from ‘The Marriage of Figaro ’ (Mozart), the air whore the countess sings her lovely appeal to Cupid. The purity and richness of tone in Miss Evans’s voice was notable, and she invested a difficult air with artistry. The bracketed number was a charming French song, ‘Depuis Lo Jour’ (Charpentier), the softer passages being delicately treated. As an encore Miss Evans gave 1 Vissi d'Arte, Vissi d’Amore’ (‘1 Lived for Music and Love’), from Puccini’s ‘La Tosca’—a splendid interpretation of the unhappy Tosca asking what she has done that a miserable fate should be hers, and begging heaven not to forsake her. A group of German songs proved most acceptable. The first was Max Eeger’s ‘Maria Wiegcnlicd ’ (‘The Virgin’s Slumber Song’), sung with rare fcchng and intensity. ‘Die Allmacht’ (‘Almighty Power’) received similar treatment,' the delicacy and restraint being notable. The encoro numbers w'ero ‘My Dearest Heart’ (Sullivan) and Landon Ronald’s ‘Down in the Forest.’ The former was one of Miss Evans’s best numbers. The theme of the Landon Ronald song, ‘ It Was Only the Note of a Bird,’ could best describe its singing. ‘My Lovely Celia ’ (Monro) could not have had a more natural setting, the artist’s voice accentuating the charm of this lovely old English air. Liza Lehmann’s dainty ‘ Whene’er a Snowflake ’ and ‘Me ’Company Along ’ (Richard Hagemann) concluded a further group of songs. The glorious ringing notes of ‘Before You Came’ (Lane Wilson) and the charming simplicity of ‘ A Brown Bird Singing’ (Haydyii Wood) were further evidence of M:ss Evans’s artistry. Mr Gauge has an infectious style, and possesses the happy faculty of be ing able to put his audience at ease the moment ho steps on the stage. He employs little gesture, but nevertheless succeeds in obtaining a fine dramatic effect, which adds greatly to his interpretative powers. In the one register his voice is full and resonant, and of rich timbre. Perh,ips his powers of expression count more than the actual quality of his voice. Mr Gauge is an unpretentious singer, and therein lies a great deal of his charm. Ho sang a remarkable variety of music with admirable skill and unimpeachable good taste, and these qualities were conspicuous in all his numbers. The prologue from ‘ Pagliaoci ’ (Leoncavallo), a most difficult aria, showed the finer points of the artist’s voice. He caught the meaning of this noble strain to a nicety, and, happily, sang it in English. Ho invested the Clown’s impassioned song with a remarkable sympathy. Handel’s stately aria, ‘Hear Me, Ye Winds and Waves,’ was in direct contrast, and was most capably interpreted. Mr Gauge also favoured the German composers, and ho gave a most satisfactory rendering of Strauss’s ‘ Traura Durch Die Daemmerung ’ (‘Dream Through the Twilight’) and ‘ Wohin ’ (Schubert), The latter is a. melody of great beauty, a. rippling piano accompaniment adding greatly to its charming effect. Tim martial air of ‘ The Two Grenadiers ’ (Schumann) was brought out with dramatic feeling. Mr Gauge’s first encore number, ‘ Mandalay ’ (Oley Speaks), was a pleasing interlude. A further recall, ‘ Achall By the Sea ’ was a placid little Irish song, in which simplicity was the keynote. The artist was fairly in his element with Waldo Warner’s ‘The Sound o’ the Pipes,’ and ‘Farmer John,’ by the same^ composer, a delightful old English dialect song. Mr Gange added bright little touches which contributed materially towards their simple charm. The popular ‘ Smugglers' Song ’ (Mullimar) received a most vivid interpretation. With an excellent piano accompaniment, one could almost see the smugglers galloping through the ( deserted streets at dead of night. Then came the merry ‘ Green Grow the Dashes 01’. which was sung with decided verve. Mr Gange was associated with Miss Evans in the duet, ‘ Figlia! Mio Padre!’ (‘My Daughter’), from ‘Rigoletto’ .(Verdi). The two voices combined excellently, and a very pleasing blend was obtained, both artists singing with facility and intelligence. The encore, ‘Trot Here, Trot There,’ was once more 6 in marked contrast. Both singers appeared bo enjoy this jolly little number every bit as much as the audience. Their dainty treatment of a tripping little song stamped it as n gem. # The audience insisted upon its repetition. Miss Evans and Mr Gange were fortunate in having Miss Enid Conley as accompanist ana soloist. Miss Conley was a splendid accompanist and played with sympathy and understanding throughout the evening. Her playing, especially in Mr Gauge’s ballads, lent considerable charm to the music. As a solo pianist, she is distinctly boyo the average. Great power of tone was shown in the ‘ Scherzo in C Sharp Minor’ (Chopin), and her succeeding numbers, the Brahms ‘ Waltz in A Flat ’ and the Chopin ‘ Waltz in E Minor’ were alike conspicuous for their beauty of interpretation. Highly technical music presented no difficulties to Miss Conley. Clarke’s ‘ Mexican Serenade ’ was notable for its rhythm and phrasing. A further concert will be given this evening. EXTRA CONCERT ARRANGED Owing bo the success of the EvansGange concert, Mr E. J. Gravestock announces that he has arranged for the popular singers to give an extra, concert on Saturday evening next, in addition to the concert already announced to take place to-night. Another fine programme will bo given at this evening’s concert, when Miss Evans will sing the famous aria, ‘ Ritorna Vincitor’ from ‘Aida’ (Verdi), ‘ Still© Thraenen’ (Schumann), ‘ Botschaft’ (Brahms), ‘Do Not Go My Love’ (Hageman), ‘Homing’ (Teresa del Riego), ‘Just For To-day’ (Blanche Seaver), and the duet, ‘Still as the Night’ (Goetz) with Mr Gange. The famous baritone’s items are: ‘ Eri ti’ from Verdi’s opera ‘Un Ballo in Maschera,’ three salt water ballads by Frederick Keel (words by John Masefield) , ‘ln Summertime on Bredon ’ (Graham Peel), ‘Duna’ (Josephine M'Gill), and ‘Mandalay’ (Oloy

Speaks). Miss Enid Conley, the pianist, will play ‘Rhapsody in G Minor ’ (Brahms) and ‘ Scherzo,’ by York Bowen. The box plan arrangements are advertised.