MADAME MELBA.

New Zealand Herald, Volume XL, Issue 12212, 6 March 1903, Page 6

MADAME MELBA.

SECOND CONCERT IN THE OPERA HOUSE. The final concert of Madame Melba's New Zealand tour was given at the Opera House last night. The house was crowded in all parts, the audience being far larger than that which attended the initial Auckland concert on Tuesday last. There was a repetition of the scene outside the theatre which attended the diva's advent three nights ago, a large crowd awaiting her coming and her going, whilst the footpath and the roadway were well populated during the progress of the concert by many, who thus took their only chance of hearing Melba's voice. A fine programme was put forward, but, strangely enough, the audience evinced a sedately cold bearing towards it and its exponents, and were more difficult to rouse than was the case on the occasion of Madame's first concert. Thus it came about that 'more than one item of exceptional excellence was allowed to pass with only ordinary applause. The fault was decidedly not with the artistes, and the conclusion is inevitable that something of discrimination was lacking in the people themselves. Albeit the reception given to Madame Melba was of a kind which left no doubt that she was recognised for what she is— grandest artiste who has sung to us as yet. Her opening contribution was Thomas' "Mad Scene," from " Hamlet." This was given in place of Handel's " Sweet Bird," owing to the indisposition of Mr. Frederic Griffith, flautist, who was to have played the flute obligato to the original programme number. The change permitted Madame to display her magnificent technique and dramatic power to full advantage, Thomas' exacting composition receiving a perfect rendering, and resulting in an undeniable series of recalls. At its close Melba was the recipient of several handsome bouquets, and she supplemented the item with " Robin Adair." Her next contributions were the bracketed numbers, " Si mes vers avaient des ailes" (Hahn) —plaintively melodious—and "La Serenata" (Tosti), with harp accompaniment, and these so pleased her listeners that she was several times recalled. Finally, she came forward, and, amidst a furore of applause, seated herself at the piano, and gave a finished and artistic rendering of .Tosti's melodious song, "Mattinata. The solos which led to this success were greatly enhanced by the sympathetic harp accompaniments supplied by Signorina Sassoli. So beautifully in accord with the lovely voice of the singer was the sweet-toned harp, that positively the question was set up in the minds of those who listened whether that is not the only proper instrument to accompany so rare a voice. In any case, the effect was so entrancing that Madame Melba's action in bestowing upon Signorina Sassoli a full share of the applause, by leading the young harpist on with her to bow to the recalls, seemed only fair to that clever young artiste. In her final programme number, "Oh, fors e lui," from Verdi's " Traviata," Madame Melba gave herself an opportunity of displaying her marvellous powers as an operatic singer. The solo demands all things of her who sings itall things that are possible to great singers— utmost skill in execution, the utmost elasticity of voice, the nicest art in modulation, and the truest tone. How Melba's voice came through the ordeal, how its even quality and perfect smoothness shone and glittered, ask of those who, at the number's close, applauded her until she had appeared again to bow four times. It was a literal triumphthe triumph of a great and an accomplished Queen of Song. The audience would not be denied the encore, and they raised a shout as Melba for the last time generously came forward with a sheet of music in her hands. The solo she then gave was, by special request, Tosti's sweet "Goodbye." Melba sang it with such deep sympathetic expression, and such wealth of feeling that she reached her hearers' hearts and left them spellbound. It was hard to realise when she had finished that her final song was sung, difficult to echo the refrain "Goodbye," which lingered in the air as framed by her sweet lips. We do not hear a Melba every day, more's the pity. Having heard her, though, her memory is going to be a living one, and what she has done for music must, without a doubt, have some effect upon us from this time out. The artistes of Madame's company all acquitted themselves well last night. We have already referred to the fine work done by Signorina Sassoli, in accompanying Melba so well and sympathetically upon the harp. Her solos upon that instrument were likewise gems in their way. Pierne's "Impromptu Caprice," Hasselmans' " Les Follets," and " Danse des Sylphes" (Godefroid), were admirably played, the lastnamed resulting in an imperative encore. Mr. Walter Kirby gave an i enjoyable rendering of Mattel's " Bianca." His second contribution consisted of the first two songs of one of Laudon Ronald's songs— cycles, "Morning" and "Evening." They were sung in exquisite taste, with a rare depth of expression, entitling the singer to a much warmer greeting than was accorded to him. Nothing he might choose could well suit his voice better, and his singing of these numbers was beyond praise. Miss Elva Rogers, the contralto of the company, gave Walthu's "Gleaner's Slumber Song," and later Tosti's " Vorrei." Both items were encored. Miss Rogers has a decided leaning for singing in a mournful strain, and whilst occasionally this is admirably suited to certain songs she would be well advised to endeavour to acquire the art of imparting light and shade into her vocalisation. Some of her solos last night were taken at too slow a pace, accentuating their melancholy nature, and they would be none the worse in effect for an alteration in this respect. Miss Llewela Davies was heard in a talented performance of Chopin's piano solo, " Polonaise in E Flat," which proved her an artiste of the first water. Sho was equally successful in the duet with Miss Natalia Dawson, " Valse Carnavalesque " (Chaminade). These ladies shared the accompaniments, playing them with taste and sympathy.