ANTONIA DOLORES.

New Zealand Herald, Volume XLVIII, Issue 14691, 27 May 1911, Page 4

ANTONIA DOLORES.

FIRST CONCERT.

That charming personality in the vocal world, Madame Antonia Dolores, after an absence of nearly five years from Auckland, once again faced a large and critical assembly at the Choral Hall last night,. The warmest plaudits were bestowed upon the popular singer, whose hold upon the musical public remains undiminished. One moment Dolores charms her auditors by singing a brace of German lieder, the next the sentiments are stirred by the arch delivery of some favourite English ballad, or perchance the vocal intricacies of some grand opera excerpt dazzle one. The singer's interpretations arc as searching as of yore, and if perchance the lapse of years has dimmed the lustre of an incomparable voice in certain fugitive passages, the disparity is compensated for by reason of the wonderful artistry which the gifted singer brings to bear upon the unfolding of ho beauties Of each number she sings. Madame Dolores was the recipient of hearty and prolonged plaudits as she came to the front of the platform to .sing her first number, Scarlatti's " Qua] FaifalJctta Amantc," and one of a series of the IBtli century songs. Some of these old master of minstrelsy did much work which would put many modem composers to shame, and those who listened last night to " Sebben Crudele" (Cnldora), l'awiello's recit. and aria "Chi vuol la Zingarella," (Muck's aria "Sous un Ormeau," and the anonymous "Le celcbro menuct d'E.xaudet" doubtless acknowledged the sincerity of the efforts of these makers of music. Kadi, too, required diverse modes of interpretation, which proved the resource of the talented vocalist. Dolores' German, diction, as well as the refined singing of the themes in Schumann's " Mondnacht" was well-nigh flawless, while the same composer's delicate " Der Nussbaum," with its persistent four-note therno figure interposed between the vocal sections found many admirers. (bio vocal contribution which was of real interest to students present was mo recitative "0, Worse Than Death Indeed," and the ensuing aria, "Angels Ever Blight and Fair," from Handel's "Theodora." In marked contrast to the stilted formality of many singers was Dolores' admirable treatment of the recitative portions. The agony of despair suggested by the opening words was faithfully depicted, both vocally and facially. A more resigned frame of mind was suggested at the words "Lead me, ye Guards," while the changing sentiments of the closing phrases were portrayed with artistic power, skilfully controlled. The attendant aria, "Angels Ever Bright and Fair," though taken too slowly, was finely treated, the significance of the air being thrown into stronger relief by reason of the untrammelled treatment of the recitative just mentioned. An extract from Thomas's opera "Mignon" made a forceful appeal. The recitative "Qui pour ce Soir" was given with breadth and freedom of style, while "Jo Suis Titania" proved to be an aria brimful of vocal surprises and voice-testing embellishments. The shakes were presented in well nigh impeccable stvle, and the scales and vocal skips, as well as the clear voicing of. the E in alt., betrayed but transitory effort. Othor popular items by Dolores were the bracketed songs, "Merry Maiden Spring." "In the Woods" (MsvcDowell), and "Would You" (McCoy). The latter, though the closing number, won a recall for the singer, who good-naturedly sang "Comin' thro' the Rye," before the audience dispersed. Popular encore songs bv Dolores were, "I've Been Roaming" "(Horn), "0. Santissima Virgine" (Giordignani), and "In der Marzriacht"—a captivating German laughing song by Taubert. Mr. Selwyn Shrimplin acted in the dual capacity of solo pianist and accompanist. In the former role lie was well received and encored, though there was nothing distinctive about 'the interpretation of his programme numbers. Two MacDowell sketches (a) "Idvile" and (b) "Polonaise in E Minor," were neatly played. The first-mentioned, with its restless tonality was mainly an interesting study in chords, while the Polonaise seemed to owe much to Liszt as regards constructive ideas. Mr. Shrimplin was only partially satisfying in Grieg's "Poem 'Erotique," played in the latter part_ of tho programme", but he met most requirements by reason of his refined and scholarly treatment of the same composer's "favourite "Anitras Danse" from the "Peer [ "Gynt" music. As an accompanist Mr. Shrimplin was usually accurate, and the charge of being over-obtrusive could seldom be laid at his door. Nowadays the song accompaniment is generally regarded as an integral part of the musical scheme of the composer, and Mr. Shrimplin could occasionally bear this in mind to even greater advantage than is at present the case. A very fine programme has been prepared for to-night's concert in the Choral Hall.