PIANIST AND TENOR

Otago Daily Times, Issue 25514, 19 April 1944, Page 6

PIANIST AND TENOR

RECITAL IN CONCERT CHAMBER The recital of pianoforte and vocal music given by Henri Penn and Robert Wilson irt the Concert Chamber last night was in many respects an interesting occasion, and the fairly large audience could find no fault regarding the generosity of the pianist and the tenor in tiie extent and variety of their offerings. Mr Penn is no stranger to Dunedin audiences, who have already had opportunities of discovering his talents as an accompanist, and he is no less versatile as a solo pianist. Mr Wilson, although he is less well known, quickly established himself in the good graces' of his hearers in a programme of songs that ranged from operatic arias to semi-popular numbers, all of which he sang with gusto. The heaviest part of the evening’s entertainment fell upon the shoulders of Mr Penn, who was fully equal to the demands made upon him. In his solo numbers he revealed a complete mastery of the keyboard. and his interpretations were full of character, if occasionally challenging in their departure from the orthodox. He opened his recital with Bach’s “Jesu, Joy of Man’s Desiring.” which was followed by Mozart’s “Alla Turca.” and two Chopin compositions, Etude in A fiat and Polonaise in A. Addinsell’s Warsaw Concerto received powerful and strongly atmospheric treatment, a contrast in mood being provided bv Rachmaninoff’s Prelude in C sharp minor. Mr Penn also played two Preludes and the Black Keys Elude, ■ bv Chopin, “ Little Music Box,” by Re- : bikoff. “Dedication,” an attractive comi position by Clifton Cook, a young New Zealand composer, “ Wild Man’s Dance ” I (Agnew). "Girl with the Flaxen Hair” (Debussy), “Butterfly” (Grieg). “Invitation to the Dance” (Weber-Tausig). and e second “ Music Box.” Mr Wilson, who has a voice of good power and ranee, gave a spirited interpretation of a wide range of songs Opening with “ Dedication.” “ The Linden Tree,” and “ Who is Sylvia,” by Schubert, he turned to and sang <he sprightly “La Donna e Mobile,” and Questa o Qu?lla,” both from Verdi’s “ Rigoletta,” in pood style. His remaining numbers were “The Lord’s Praver ” (Malotte), “Drink to Mo Only.” “ The Four-leafed Clover,” “I Know 'of Two Bright Eyes” (Clutsam). "Jeannie with the Light Brown Hair ” (Foster!. “ I Hear You Calling Me (Marshall). "When Song is Sweet” (Sans Souci). and “I Love Life.”, Mr Penn’s accompaniments were always in perfect sympathy with the singer.