MADAME CALVE.

Otago Witness, Issue 2949, 21 September 1910, Page 67

MADAME CALVE.

SECOND CONCERT.

Madame Calve's second concert attracted an even larger audience, to tho Garrison Hall on tho Hth than its predecessor, and 1 enthusiasm was again the sentiment of those present. To hear Calve in one role is to want to hear her in another, for her, versatility is most prouounoed. She ranges from tempestuous operatio bravuraf to sparkling chanson and lilts of birds' and spring with captivating freedom, andf her power of ©motional expression in all her flights of song is one of tho great' secrets of her great success. In eome re-' speets last evening's colncert was -even betfc&r than in the earlier one. It was noteworthy particularly as a rovelation of the artist's achievement in her great part of Carmen, and the rendering by Madame Calve and Signer Gasparri of the fine duo from the second act of Bizet's opera was a performance that will be ever memorable to those privileged to hear it. The association of two such artists on the concert platform in such an operatic excerpt i» rare indeed. Singing, on the part of each, of splendid quality combined with acting. of tho most convincing character to produce a magnificent result. The portrayal by Madame Calve of the changing moods of the capricious gipsy was magn-etlo in its inexhaustible variety and attraction, and the conception of the character was illuminating and dominating. The absolute abandon of one passage contrasted with the seductiveness of anothW. It would be difficult to convey in words any idea of the lingering allurement of the reiterated, " Non! tu no m'aimos pns" with which ■Carmen begins to tempt Don Jose to quit tho colours and rido over the hills and far away, or the ecstatic thrill of her extolment of "sweet liberty." The "adieu" was a climax to remember. Signor Gasparri rose to the requirements of the pari of Don Jose in a manner that stamped him as one of the finest actors and operatio tenors to visit theso parts. Especially impressive was he in the dramatic appeal to Carmen in which the expression or a repressed emotion bursting its bonds vrai most telling. A veritable furore of applause succeeded this exacting selection, which was the last on the programme, and an audience determined not to depart without further delectation had the delight of hearing the singers again in the unaccompanied and familiar duet " Mandolinata". (Paladilke), which brought a memorable and all too brief concert season to a close.

Madame Olive's eolo numbers were again of notable quality. Th» operatic aria "O rna lyre immortelle." from Goinod. being Sappho's farewell to earth before plunging beneath the waves, displayed to ©very advantage the range and richness of tha singer's voice, and was conspicuous for all tho impassioned dignity appropriate to the classic theme. Instantly contrast followed the tempestuous witchery and abandon of Ca.rmcn in tho "Habanera." Later came " Voi lo Sapcte," from Masc&gni's " Cayalleria Rusticana." arrestirig in ite emotional intensity and, again in striking contrast, Massenet's " Serenade du passant," literally a sparkling <" ught of oldworld April melody, revert, ing all tlh« beauty of a dramatic soprano voice attuned to the most delicate nuances .of tone. The two additional numbers which Madame Calve was constrained to give, a Spanish ballad and an Old French "Shepherd's song," were in their sowtkling grace and spontaneity altoeethor chttTminir addi-

| tion3 to the programme and artistic gems 'of rnelodv. 'though even a Calve may" sustain a note rather long. Signor Gahleo Gasparri. who was again in fine voice, confirmed and enhanced the previous 1m pression made by his singing. His programme numbers were the romance ■ " Ideale," bv TostL "0 Primavera," a I ballad of spring, by Tirindelh, and two ; solos, "Reoondita armonia" and " E lucej van la Stelle." from Puccini's opera La ; Tosca," in all of which the vocalist achieved the happiest results. Signor Gasparri demonstrated particularly on this occasion his ability to express sympathy and intensity through tho medium of a voice especially effective in its upper register and generally of delightful quality, and his treatment of hie songs invariably revealed the consummate artist. The tenor was vociferously recalled after each appearance, and of his two additional numbers the Italian ballad "Maria" was particularly noteworthy for tho amount of work —to use an expressive phrase— ; which the singer put into it, the effect being of the happiest and most finished description. M. Jacques Pintel, the pianist of tho company, contributed materially to the pleasure of the audience by his musicianly interpretations of Chopin's ' Scherzo in B minor," Rubinstein's " Valse Caprice," and Mosz- ! kowski's " Spanish Caprice," gaining ' special recognition for his artistic renderI ing of the valse. M. Pintel also again discharged ably the important duties of accompanist.