CELLINI – ZACHAREWITSCH-CIMARA.

Timaru Herald, Volume XCVIII, Issue 18084, 25 June 1924, Page 9

CELLINI - ZACHARE-WITSCH-CIMARA.

A BRILLIANT COMBINATION. As a concert party, the Cellini-Zacharewitscn-Uimara combination is certainly unique, to the average New Zealand audiences, the term concert, as applied to professional entertainments, has come ot late years to convey an impression of a ■ mixed programme, containing one star arust, supported by several people of varying degrees of ability. The party that emertaaiecl for nearly two and a-hali hours,,, a crowded aqdience at the Theatre Royal last evening, was composed of three consummate artists, each a star, and' each very obviously taking a sheer delight in the works, so brilliantly interpreted. To such an artistic trio, supporting artists would be entirely superfluous, their individual artistic variety entirely sufficing. ■ The three men who are being introduced to Australian and New Zealand audiences, by Mr Fred M’Crea, are the Italian tenor Signor Lengli Cellini, the Russian violinist Zacharewitsch, and Maestro Pietro Cimara, composer and accompanist. Reports of their concerts in tlie north, roused the highest expectations of the visitors, and it was evident by the sustained applause that greeted each item, and also at the conclusion of tlie programme, when a delighted audience were pianly loth to leave the Theatre, that those" expectations were, more than realised. ,

The programme was under the direction of Mr Fred McCrea, under whose personal direction have appeared Melba, Tetrazzini, Paderewski, Elman, Sousa’s Band, and many noted celebrities in the musical world. It is also worthy of mention that Ivreisler, who is considered the greatest living violinist, has lately entered into a contract to tour Australia and New Zealand under Mr McCrea’s direction early next year. With Cellini the audience quickly realised that they had confronting them a very fine artist indeed. His opening number was the Aria “Cielo e Mar” from Ponchielli’s opera, La Giocoiida. Calling for splendid phrasing the opening words at the “L’angiol mio verra. dal mare” showed delicious vocal modulation, splendidly restrained until the emotional high “B” on the final “All bien,” which was delivered with splendid effect. Contributed as an encore number, the famous “Elucevan 1© stelle” (Tlie ivere Shining) from Puccini’s opera “Tosca” proved the vocal gem of the evening. In the stirring climax, tlie poignant grief of Mario, as he cries “I die despairing,” was sung with a magnificent dramatic effect, that held the audience spellbound. “I attempt from Love Sickness to Fly,” by Purcell, which was sung in Timaru about twenty-two years ago, by Madame Delores, was sung in splendid English, as regards both diction and spirit, in addition to other programme numbers the tenor contributed amongst othei encore numbers, “Questa Quella,” the popular “La Donna e Mobile,” a delightful French ballad of the _l7tli Cenutry, and two Irish airs, “Oft in the Stilly Night,” and the “Fairy Tales of Ireland.” Zacharewitsch played for his open ing number the wonderful Paganini “Concerto.” Actually taking twenty minutes to play, the number appear-ed-to occupy only a few minutes, so engrossed ivere the audience in the wonderful appeal of the artist’s music. The opening passages marked by strong restraint, passed from dreamy legates to fiery passages, in which a full how was used with virile technique. Beethoven’s “Rondino” and “Boree” had to be contributed as extra numbers, be fore the violinist was allowed to leave the stage. In the second portion of the programme “Hymn to the Sun” “The Farmer’s Wedding” (bracketed numbers) drew forth an extra item “Turkish March” by Beethoven. His concluding solos were “Imagination,” a dainty number of his own composi tion, and “Rondo,” by Mozart. In response to insistent recalls, “Ashgrove” (a lively Welsh air) and a delicious waltz by Brahms also proved dainty offerings. As a soloist and accompanist Maestro Cimara is also the complete artist. His solo “Marcia Nuziale” by Greig was played with grace and an obvious air of refinement that made an instantaneous appeal. In his accompaniment of tlie Paganini Concerto his work constituted a splendid background to the other instrumentalist. The song “Nostalgia,” composed by Cimara, and snug by Cellini with piano ami violin accompaniment, which concluded Die entertainment, disclosed an exceeding: v well balanced trio, the three artists combining in happy and harmonious fashion. The three were compelled to return to the stage before the audience could ho satisfied.

Speaking of the programme as a whole, it can he said that ihe entertainment was one of rare quality, unfortunately. only too rarely cm joyed by Timaru audiences, and it was therefore only lo bo exported that those who-e tastes and inclinations lead them in what is host in music, should attend in such large and appreciative numbers.