TOTI DAL MONTE.

New Zealand Herald, Volume LXIII, Issue 19390, 27 July 1926, Page 6

TOTI DAL MONTE.

THE SECOND CONCERT.

The remarkable success which attended Toti dal Monte's opening concert on Saturday was more than confirmed last evening at the Town Hal), when the second concert was given before a large audience. The soprano's vocal superiority, particularly in the brilliant coloratura arias, remained unquestioned, and the fervent applause, which led to many encores bein£ accepted, was in itself a fitting tribute. The programme selected made the fullest demands upon Toti dal Monte „ skill as an interpreter of diverse vocal styles, and in each case the wonderful clarity of her bird-like soprano was only matched by the apparent absence of effort in producing such charming effects. Her opening choice was Rosina's showy aria, "Una Voce poco Fa," from Rossini's "Barber of Seville," and here the fullest advantage was taken of each opportunity in the music. The slow opening portion was voiced with admirable reserve, and displayed the purely legato style until the cadenza was reached. The "moderato,' with its change of tempo, was , handled with celerity, the numerous roulades and skips being interpreted with evident enjoyment. The whole was a dazzling piece of work, which almost seemed to set a new standard. ISIo more difficult coloratura test exists than the famous "Polacca" from Thomas' opera "Mignon," and its inclusion in last night's programme afforded much gratification to music-lovers. It is not too much to say that the masterly interpretation of this aria eclipsed even Toti dal Monte's„previous efforts. The diva caught the mood of the music at the outset, "and the captivating rhythms and vocal embroideries seemed light as thistledown. A startling climax was reached in the final lengthy cadenza, which fairly ran the gamut of difficulties, as the flute-like tones pulsated through the hall. A group of modern Italian songs presented Toti dal Monte in another guise, as with consummate artistry she submitted Pizzetti's strikingly atmospheric " Pastori," Bragi's daintily evanescent " Lucciole," and Buzzi-Peccia's clever adaptation of the theme of Dvorak's " Humoresque " in the number entitled: " Canto di Primavera." The English songs were sung with just that quaintness of diction, which almost enhanced their charm. Among the prima-donna's encore songs mav be noted Mr. William James' " Maori Lullaby," which is based upon genuine Maori themes. This roused considerable enthusiasm. Also to be noted was the amusing duet " Dunque Io Son, from Rossini's " Barber," which was given in inimitable manner at the close by 1 °ti dal Monte, and Augusto Beuf. Ihis naturally led to further recalls. Splendid vocal qualities were displayed bv the baritone, Augusto Beuf in his enunciation of the fine aria Nemico della Patria," from Giordano's " Andra Chenier," and in a group of Italian songs which found ready favour. The flautist, Mr. Stanley Baines, again gained admiration in a budget of solos which included " Scherzo Capriccio" (Sabathil), " The Swan " (Saint-Saens), and "Allegretto" (Godard). Mr. William James was again an ideal accompanist, while in the domain of solo pianist he reaped fresh laurels. There was something inspiring about his playing of the " Minuet and Trio " from Beethoven's Sonata op. 31, and in the subsequent Scarlatti "Sonata in C Major" he succeeded in recapturing the old-time flavour of this class of music. Two of MacDowell's sketches, "To a Waterlily " and the dashing " Ungarisch," were also played by Mr. James with marked success. His encores were equally popular. The third concert of the series will be given at the Town Hall to-morrow evening-