CONCERT ATTRACTION

Otago Daily Times, Issue 21982, 17 June 1933, Page 12

CONCERT ATTRACTION

DAWSON-CABALLERO Mr Peter Dawson, the world-famed baritone, and Senor Tapia-Caballero, the celebrated pianist, who is known abroad as “ the poet of the piano,” will arrive from Christchurch on Monday after an overwhelmingly successful season in that city, and will give the first of three concerts in the major Town Hall on Tuesday next under the direction of Messrs J. and N. Tait. Mr Dawson needs no introduction. Almost all the world has paid tribute to his art, either in the major concert halls or per medium of the air or the gramophone, and, unquestionably, he stands unrivalled as the finest baritone of the day. Senor Tapia-Caballero—although a celebrated pianist in the art circles of Europe, where he has been termed “ the poet of the piano”—is making his first appearance in New Zealand, and an extract from the Wellington Dominion should be of interest to Dunedin concertgoers:— f ■' _ “ There was considerable interest in the advent of Senor Arnaldo TapiaCaballero, the Chilean pianist. This handsome young graduate of the Santiago Conservatoire is a pianist of a new order wholly individual in style. There are pianists who endeavour to thunder their way through the fugues and toccatas of Bach, leaving one rather stunned by the confusion created. The visiting artist played the * Prelude and Fugue in F sharp ’ with a gentle caressing touch, a command of tone and a flowing style which disclosed the serene beauty inherent in the work. The same refinement and delicate, butterfly touch characterised Tapia-Caballero’s playing of Scarlatti’s lovely ‘ Pastorale ’ and * Capriccio,’ stamping the newcomer as a player who exalts beauty before mere technical prowess. Tim opinion was confirmed by his playing of the ‘ Appassionata ’ sonata of Beethoven, which makes demands on the performer’s poetical equipment. The ‘ allegro assai ’ movement and the prayerful andante con moto, with its intriguing variations, were played with rare brilliance and understanding. The encore to ' the Sonata was ‘ Intermezzo (Szallit). Tapia-Caballero plays the elusive Debussy with a delicate, elfin touch peculiarly adapted to the composer’s tonic scale. The Debussy numbers were * Danseuaes de Delphes,’ ‘Le Vent dans la Plaine,’ and ‘La Fille aux cheveux de lin,’ and the vigorous ‘ Minstrels.’ Other numbers played were Chopin’s ‘ Etude in E minor,’ Brahms’s ‘ Waltz in A flat,’ and the Granados ‘Spanish Dance,’ each with finished artistry.” Particulars of programme, box plan, etc., will be found in our advertising columns.