ROSINA BUCKMAN

Greymouth Evening Star, 30 January 1923, Page 3

ROSINA BUCKMAN

FIRST GREYMOUTH CONCERT. She came—she sang —she conquered ' Rosina Buckman added yet another triumph to her long list last evening, when she held spellbound the audience at the Greymouth Opera House by the magic of her glorious voice and supreme artistry. Never before has such a soprano been heard at Greymouth, and the demonstrative applause, which culminated in an ovation, proved that the privilege of hearing New Zealand’s prima donna was fully appreciated. Hardly less flattering was the reception given to Mr Maurice D’Oisly, Miss Adelina Leon, and Mr Percy Kahn, and the evening was delightful throughout. Although, from a box office receipts point of view, the attendance may have been rather disappointing, there was nothing wanting in the treatment given to the artists. They were generous with encores, but even then the audience were not wholly content. It may be remarked, in passing, that the courtesy of Miss Bucltman and her associates in an-

nouncing the titles of their various encore numbers before singing or playing them, was keenly appreciated, and the policy could be adopted with advantage by others. It is well to remember that many people in any audience are not familiar with the majority oi encore numbers, and consequently do not enjoy them to the full. Recognition of such points, and consideration fox his or her audience, is one of the first cares of the genuine artist. The programme last evening was rich in musical gems, and one would have a difficult task in selecting the most popular item, they were all thoroughly enjoyable and heartily applauded. Miss Buckman justified her right to a place with the world’s foremost singers, and realised the great expectations aroused by previous reports concerning her powers. It is not every artist who does that. Miss Buckman’s opening number, •‘One Fine Day,” (Madame Butterfly) was pure delight to music lovers, and the aria proved a perfect vehicle for the expression of great emotional powers, and a voice of boundless range and beauty. The applause was mingled with a floral tribute, gracefully acknowledged by the artist. A double encore brought forth “Musetta’s Song’’ from La Boheme, and the daintily-sung “Cuckoo.” Next came a group oi three songs : “The Lass With the Delicate Air” (Arne), ‘‘Butterfly Wings’’ and “Sing Joyus Bird” (both by Montague Phillips), in each of which the singer captured her audience, and car.

tied tliem away by her art. A triple encore was the inevitable consequence, and these songs were, if that were possible, even more pleasing. First came “AVaiata Poi” (Alfred Hill) ; a charming rendering of “Cornin’ Thro’ the Rye” which brought out all the beauty of the ola song; and a fine interpretation of

Alfred Hill’s “Waiata Maori,” which earned enthusiastic applause. Distinctly appropriate was the singing by New Zealand’s greatest singer of the songs of a famous New Zealand composer. In the last three songs, Miss Buckman was tastefully accompanied on the piano by her husband. The two artists co-operated to produce a treat in the finale of Act 1, “Madame Butterfly,” when, as night falls, Butterfly goes to her lover. Those who have not heard Buckman have not heard Butterfly, at her best. An undeniable recall was replied to with the first act finale of “La Boheme” and here again the artists scored heavily, despite the fact that the clamour of the fire-bells out. side proved distracting to many of the audience, numbers of whom left the building during the number. Mr Maurice O’Oisly proved himself a talented tenor, capable of acquitting , himself well in any company. He has an attractive personality and was on good terms with the audience at once, in his case, as in Miss Buckman’s, the ; book of words was rendered unnecessary by perfect enunciation. His programme number, “Eleanore” (Coleridge Taylor) was sung with fine expression, , and for an encore, “When I was a Bachelor,” an English song of the 16th century, in humorous vein. There followed “Dolorosa” (Phillips), “Casey the Fiddler” (Haydn Wood), and ‘‘Sombrero” (Chaminade), all being i vigorously applauded. Mr D’Oisly . sang the lilting “Casey” in a partial- j larly pleasing style. As encores he contributed a charming little song by Percy Kahn, “The Willow Tree,” and 1 shared the honours with the composer pianist. Mr D’Oisly is a noted ex- . ponent of French songs, and his sing- . ing of “Petronille” (Weckerlin) was 3 greatly appreciated. An exceptionally gifted ’cellist is Miss Adelina Leon, and the audience ' were not slow to recognise that fact. 1 Beauty of tone, and finished execution 1 characterised all her numbers, which ( were widely divergent, but the artist ( was equal to all demands on her skill. . She thoroughly deserved the great reception accorded. Programme numbers were “Air” (Bach), Beethoven’s ! beautiful “Minuet,” “Drink lo Me 1 Only” and “Country Dance” (Squire), ; and Popper’s “Rhapsody.” The ’cello , is an instiument heard comparatively rarely at Greymouth, and its beauty is perhaps not fully realised. Miss Leon’s playing in some of the items was a revelation to many people, particularly in “The Song of the Spinning Wheel.” The languorous Eastern atmosphere of the, “Chanson Hindoue from Rimsky-Korsakoff’s opera, “Sadko” was effectively brought out, while her artistic playing of “Auld Robin Gray” greatly pleasedIn Mr Percy Kahn the party possesses an ideal accompanist. Never obtrusive he gave the most artistic support throughout the evening, and revealed himself a pianist par excellence. The final Greymouth concert will be, given this evening, and should not be missed by lovers of good music, perfectly interpreted. Miss Buckman will sing the famous “Jewel Song” from Faust, “Mimi’s Song” from “La Boheme,” “Annie Laurie,” “Waiata Poi” and “Waiata Maori,” Tosti’s “Good-Bye,” “Sing Joyous Bird” (Phillips), “Evening Prayer” (Mous. sorgsky), and “Knotting Song” (Purcell). Air D’Oisly will sing the “Flower Song” from “Carmen,” “You Came to Ale” (Guy d’Hardelot), “Adieu, du Matin” (Passard), “La Chanson du

Tanibourineur” (Weckerlin), ‘‘She is Far From the Land” (Lambert), etc. The Grand Opera duets will include the “Miserere” scene from ‘-‘H Troyatore,” “Cavalleria Rusticana,” and the finale of Act I. from “La Boheme.” By the time the present New Zealand tour concludes in Marcn, Miss Buckman and Mr D’Oisly will have given upwards of 150 concerts in New Zealand and Australia, of which the Dominion has had the larger share.