ROSINA BUCKMAN

Otago Daily Times, Issue 18592, 28 June 1922, Page 6

ROSINA BUCKMAN

A GREAT ARTIST

The return of the native is not always associated -with such happy circumstances as it that of Miss Rosina Buclunan. It may be true that a prophet—word of liberal connotation —has little honour in his own country, but let him or her gather the honour further afield, and the return becomes a triumph. So it is in the case of Miss Buokman. 1 That is not to say that she was not recognised in earlier days in her own country as a singer of exceptional parts and brilliant promise. Probably Miss Beckman's most noteworthy achievement m the past in Dunedin was her handling of the principal role in Alfred Hill’s opera, ■’The Moorish Maid.” All who heard her therein will remember with pleasure an occasion that gave a particularly convincing indication of her possession of a tempera, ment, allied to vocal anti dramatic powers, met with only in rare instances. In the interim Miss Buokman has developed her talenta with a success probably surpassing the most sanguine expectations of those earlier year?, and has proved herself in the severe school of old-world experience in which but few are destined to carry off high honours. She has figured in a sphere success in which gives the singer the hallmark of an assured place among artists of .note, of whom, when all is said, the world does not contain so very many. The moasure of Miss Buckman’s attairunont of that proficiency which is expected of a pnma donna is nothing short of a revelation. She returns to New Zealand a great artist in every sense, with full command of her enviable vocal and dramatic gifts, and tho encomiums that have heralded her coming have not said a word too much. Her equipment is so strong that criticism, is virtually disarmed —a terrible expression. Her voice has gained immensely in power, while retaining all its old quality -its clearness. which is that of a silver boll. It is now in tho very heyday of its conquering maturity. It is said that interpretation is tho highest branch of the singer’s art, that interpretation is essentially individual, and that individuality is the singers greatest asset. So far as this constitutes a test Miss Buckman emerges with flying colours, bne has marked individuality, and a stage personality that meets every emergency. Since to her work of interpretation she brings ML the necessary endowment —perfected technique, magnetism, a sense of atmosphere, and the tone-colour winch is described as part of the physical response of tho voice to tho play of fooling—her success needs no further explanation. ', Tho opening of Miss Buckman a concert season at His Majesty’s Theatre last evening broke under notable circumstances the sterility of a period marked by the absence of visits of singers of note. A largo and expectant audience greeted the artists, who include Mr Maurice D’Oisly, tho tenor, a tower of strength in himself, and tho popular verdict was accorded in, terms of a rarely vouchsafed enthusiasm. ■ Tho programme was one of much excellence. Miss Buckman began with the from Leoncavallo’s “I Pagliacci,” an aria well calculated to reveal the fluency of her vocal powers in its exacting passages. The number was rendered with all the telling declamatory power which is one of tho singer’s great asset, and wrought to a great finish on the rising note of the premonitory ending of Nedda s invocation. In response to the emphatic recall Miss Buckman gave what by many. would bo considered her finest contribution among many such, the well-known aria from “Madame Butterfly” beginning “One Fine Day. It would be difficult to-praise too highly this rendering of pom* Cho Cho .San's song of joyous expectancy. Given in English, it brought out fully the vocalist, s delightful enunciation; not a word was missed, and the interpretation was exquisitely shaded. One need not expect to hear more compelling expression given, to the simple language— I tio not go to meet him. Not I! , , ■ . I stay upon the brow of the hillock — Further recalled, the singer gave charmingly ‘‘The Cuckoo.” Later on Misa Buckman appeared in four bracketed numbers, all well chosen. In Granville Bantock s melancholy “Lament of Isis” great intensity of feeling and dramatic expression are required, and these the singer supplied in arresting measure. It was a thoroughly impressive interpretation. Bub Miss Buckman is equally at home in ballads of a very different order, as witnessed the grace and vivacity, one may say tho archness, ot her treatment of one of Purcells compositions, “The Knotting Song, a most felicitous morsel. The sucj ceeding number was “Evening Prayer bv Moussorgsky, respecting which the audience seemed at firet in doubt as to whether it should be taken seriously or humorously. It is really a delightful piece of humour, the prayer of a little girl at bedtime for all and sundry, and was given with inimitable piquancy and zest. The assumption. by the singer of the child a voice was genuine art. Miss Buckman next embarked on a very different route, and gave a Wlacl of the modern school in “ O Ship of My Delight,” by Montague Phillips. This florid number offered her a fine opportunityof displaying her remark able vocal range. Ihe audience was now quite worked up to enthusiasm. and responding to the read! the soprano gave Alfred; Hill s popular Waiata Poi,” sung as perhaps only Miss Buckman could sing it. A further vociferous recall secured the audience the concession of hearinir Miss Buckman in “Cornin’ Thro* the Rye.” The audience had high reason for satisfaction in making the acquaintance ot a tenor of Mr Maurice D’Oisly’s culture and efficiency. Mr D’Oisly has a voice of capital quality, well under command, and is thoroughly artistic in all his work. His opening item, “O Paradiso,” from Meyerbeer’s “L’Africaine,” presented difficulties that disappeared in a carefully studied rendering, free from any effort after a special tour de force. Emphatically recalled,, he revealed a keen sens© of the humorous in an old English folk song. That the tenor is extremely happy in songs from the French was shown, in his contributions “Entendezivous le carillon du verre,” and Pessard’s “Adieu du Matin,” a beautiful little song beautifully rendered Mr D’Oisly followed on with a great piece of vocalisation in a third French number, “Sombrero” (Ohaminade), in which the words fairly chase one another, and, as the saying goes, brought down the house. He responded with an old negro folk song entitled “0 Didn’t it Rain,” the humour of which the audience appreciated in a double sense. Yet further recalled, Mr D’Oisly gave “ The March of the Cameron Men,” which doubtless represented his concession to present environment. Respecting ths vocalists, it remains to add that in singing in conjunction they are most happily balanced. The audience had a most convincing testimony of this in the great duet from the fourth act of Gounod’s “Romeo and Juliet,” a contribution recalling in its high merits pleasurable recollections of the operatic excerpts rendered on the local concert platform years ago by Madame Calve' and Signor Gaspaxri. The audience was in no mood' to let the singers off with this, the final programme item, and the insistent demand for more was responded to with another duet, the beautiful finale to the second act of “La Boheme.” A further demonstration admitted of no denial, and tho singers generously returned with that, old favourite, “The Keys of Heaven,” which gave both artists, the tenor in particular, an opportunity fog Introducing a humorous histrionic touch which was quite irresistible. Rarely be it said does one remember a concert concluding in a note bo vigorously complimentary to artists making an initial bow to a local audience. Miss Buclanan and Mr D’Oisly arc assisted by Miss Adelina Leon, a ’cellist whose playing made a highly favourable impression. Miss Leon is a skilful executant, and artistic and thoroughly conscientious in all her work. Her contributions were fairly numerous, and all gave pleasure. Dunkler’s “Spinning Wheel Song,” Popperis “Rhapsody.” a “Romance” by Saint Saens, “The Admiral’s Galliard’ (18th century), and “Drink to Mo Only ” furnished excellent, instrumental variety, and the ’cellist was called upon to give additional items after each appearance. The remaining member of the company is Mr Percy Kahn, the accompanist, whose work is admirable.

TO-MORROW’S PROGRAMME, Another fine programme has been arranged for the second concert, which takes place to-morrow night in His Majesty’s Theatre. Miss Buckman’s selections will include “Ratorna Vincitor,” from the wellknown aria from “Aida” (Verdi), “The Tryst” (Sibelius), “Boy Johnny” (Eric Ctmdell), “Heffle Cuckoo Pair” (Martin Shaw). “Wa-iata Poi” and “Waiata Maori” will be included as extra numbers by request. and with'Air U’Oisly the popular singer will sing the famous duet from “Madame Butterfly” and the “Miserere Scene” from “II Trovntore.” Mr D’Oisly’s nuanbers include “blower Song,” from “Carmen.” “Dolorosa!’ (Graham Peel). “Margoton.” “Je Connais un Berger Discreet,” and “PetronUle,” three French songs by J. B. Wcckerlin. The box plans are at, the Bristol, and the day sales for to-morrow's concetti will -.»«• Aw- Geyser Sweet Stora.