THE SAPIO-URSO CONCERTS.

Otago Witness, Issue 2104, 21 June 1894, Page 37

THE SAPIO-URSO CONCERTS.

Dunedin has ere this been visited by great violinists, and it has also been visited by great vocalists, but it may be safely affirmed that we have never been previously visited by a combination of a great violinist and a great vocalist such as we now have with us in the persons of Madams Camilla Urso and Madame De Vere-Sapio, whose series of concert) in the Garrison Hall wereinaugurated on Monday night. The weather was bitterly cold and the auditors were glad to be able to avail themselves of the warmth that was obtainable from the use of furs, cloaks, and g> eat coats ; bub discouraging as the severe climatic conditions were, the concert was a brilliant and unqualified success, in the triumphs of which both Madame Urso and Madame Sapio shared. In 1880 Madame Urso performed in Dunedin at several concerts which were all largely attended by enthusiastic audiences, but after the lapse of 14 years an almost new generation of concert-goers is to be found iv a small place, and it may, perhaps, be assumed that the majority of those who with bo much cordiality welcomed the violinist on her reappearance bad not hoard her on the occasion of her previous visit to this city. One might fairly reproduce concerning Madame Urso the words of the notice which appeared in this papur on the morning after her first concert in the Garrison Hall, the date being the 28th May 1880. •• Under- her touch," it was said, ' ' the violin becomes the grandest of musical instruments. And what adds to the feelings of pleasure with which one listens to her wonderful playing is her almost perfect repose of manner. Most performers upon the instrument, that we have seen, seek to add to the effect of the music by a kind of posturing, as if to draw attention to the sound they are producing. Nob so in the slightest degree with Madame Urso. With closed eyes apparently she gives herself up entirely to the music she is creating." It would be difficult to pay in what particular merit her playing is richest. Her faultless style, her firm but liquid tone, her remarkable technical skill, — to all these testimony has over and oyer again been given. To an extent that is noteworthy her playing is marked by. that quality known as "soul," which should* be indispensable and is generally said to be indefinable. Listening attentively to Madame Urso, on.c caqnot help teeling that she possesses . the quality in an enviable degree. The violin solos which were promised in Monday's programme were two in number, and each of them had been played by the artiste during her former vif.it to Danedin. The first was a sonata in D minor — comprising introduction, fugue, gigue, and finale — composed in 1787 for the violin by F. W. Rust. It presented numerous difficulties that would havo baffled any but talented performers, and it is doubtful whether there can be any hotter evidence of the masterfulness of Madame Urso's playing of the piece than is afforded in the fact that she bo overcame the technical catches as almost to conceal their existence. The applause which the rendering of the sonata evoked was continued until Madame Urso, after a double recall, reappeared to play the ".Obertaz mazurka," by Wieniawski, which — included as it is frequently in local concerts — has never previously been performed here with such grace and delicacy. Baganini's " Witches' dance" was the solo set down for the second part, and here again the artiste made full use of her opportunity, and with a performance of the highest merit again delighted the audience, whose demand for an encore led to one of the most charming items of the programme, as the added number was Veuxtemps's "Reverie," which was played superbly and with exquisite feeling— Madame Urso's reading of it furnishing an instrumental feast of great excellence. Madame de Vere-Sapio came not with the great reputation of Madame Urso — still, she was preceded by a high reputation, and having the world as yet practically before her, the chance is hers of building up a reputation that will extend throughout the world. There ware few in the Garrison Hall who were prepared for such a genuine vocal triumph as she achieved. Her voice is a high and admirably trained soprano of sp'endid power and great compass. Htr intonation is virtually flawless in its purity, the flexibility of her voice is remarkable, and the evenness of its quality ia rare, but in the upper register it is ■ especially full and sweet. Her singing throughout t^e evening afforded an artistic treat of great richness. Upon her first appearance she sang a difficult aria from Felicien David's "Pearl of Brazil," with which she fairly took her hearers by storm The number abounds with florid passages, which, however, were given with great precision and without apparent effort, and the exacting calls upon the upper register were all met with great success. Her artistic treatment of the aria revealed herself at once to the audienoe as an exceptionally gifted vocalist. She was twice recalled and was then persuaded to sing •' Mary of Argyle," which she gave delightfully. In the second part she bracketed two morceaux, composed by Signor Sapio, and both full of melodic charm. The Spring song — which wag composed expressly for Madame Adelina Patti— was particularly enjoyable. A loud outburet of applause was acknowledged first by the vocalist, then jointly by tho vocalist and composer, and eventually Madame Sapio returned to the stage and gaye a notably fine version of Wakefed's '* No, sir ! " The audience were, however, not yet satisfied, and upon a farther r, appearance the soprano gave an admirably ex^r. stive.

interpretation of Goring Thomas's "Summer night," her singing of which was, indeed, one of the best features of an altogether charming concert. For the last item •of the programme Mesdames Sapio and Urso appeared together in a duet for voice and violin, arranged by Signor Sapio from an aria by Ciardi, and in this each artiste was heard to distinct advantage. Signor Sapio, besides discharging with much taste the duties of accompanist, performed a couple of pianoforte duets. In the first part he played Schumann's "Grillen" and a dainty "Gavotte pompadour" of his own composition, and in the second part he contributed a "minuet" by Papendieck. It may be hoped that before the close of the season he will play some work that will afford the public a better opportunity of judging of his merits, but, as it was, the last mentioned item was so much appreciated by them that Signor Sapio had, in response to their plaudits, to reappear and play Marturci's "Capriccio." The Dunedin Orchestral Society, whose services were lent for the occasion, performed a couple of overtures— Suppe's " Schubert" and Mendelssohn's "Fingal's Cave" and, conducted by Mr J. Coomb 3 and led by Mr C. Barrett, sustained their reputation in eaoh instance.

The second concert was given on Tuesday night to a large and disciminatiog audience. Madame Urso .was three times recalled after her playing of Wieniawßki's "Waltz Caprice," and then, acquiescing in the sincerely expressed desire for a repeat number, ehe gave a great treat in the execution of the "Lullaby" by Gottschallr, which waa dedicated to her by the composer. Played with muted strings this was a marvel ot refined treatment, and during its performance the audience were stilled into a complete silence, but as tb - " *■• whisper of the piece died away the plaut the delighted listeners broke out anew, am <vme Urso was accorded a perfect ovation. coepted the double encore, and without aci nimant contributed a study in arpeggios, * ilso was recognised as being a performance terling merit. Madame De Vere-Sapio's ass and brilliant vocalisation was the them general admiration, and her vocal contribi were all vooal triumphs. Herr Benno S k obtained a flattering welcome back to 1 in, the applause ou his first appearance beil <J and long sustained. The magnum of Wednesday evening's programme was clelasohn's violin concerto (op. 64), and & le Urso's other solo was Vieuxfcemps's " ' ie." Madame Sapio sang an aria from Mos " II Flauto Magico " and " Hear ye, Israel m the oratorio " Elijah." The introductio d variations from the " Carnival of Vei were also given as a duo for soprano and vii>