ANTONIO NOTARIELLO.

Star (Christchurch), Issue 16452, 14 June 1921, Page 6

ANTONIO NOTARIELLO.

LABT NICHT'S CONCERT. A visit by a new singer aspiring to international fame is always an event of great interest to the musical public. It is probably a long time since there was so much expectancy, mingled with curiosity, regarding a new star as has been displayed in connection with th© visit of Antonio Notariello. This young Italian tenor left his home country, where he had a distinguished record as student and performer, onlv a few months ago. He has been hailed as an artist likely to succeed Enrico Caruso, who enjoys an unchallenged supremacy among the world’s tenors. A large audience in the Theatre Royal last evening gave a very cordial welcome to this young and promising vocalist, and to the supporting members of the company. Signor Notariello is a typical product of the Italian school of singing. He has a robust and resonant voice, and possesses a wonderful command of power and facilitv of control. He excels in dramatic interpretation, and. in fact, acts all his songs with a warmth and sympathy that truly belongs to the sons of Italy. He is effective in the graceful and flowing melodies, and not less than inspiring when presenting a climax. His voice is well produced, and though there were one or two occasions last evening when a little break occurred, it was generally well under control. Some of his crescendos were real I v wonderful in their sustained and robust power. Signor Notariello is a. young man, and it will be surprising indeed if he is nor, heard of in very excellent company before manv years are past. He sang himself into the good graces of his audience, which encored him with an enthusiasm which is rarely so heartily manifested. His acknowledgments, with expressive gestures, sweeping and smiling bows, and liis right hand on his heart, were quite in keeping with his temperament, and the audience enjoyed this departure from the conventional and somewhat frigid British stvle. Signor Notariello opened with

“ Gelida Alanina ’’ (“ Thy Little Hand is Frozen ”) from “ T.a Boheme,” which he gave very tenderly and expressively. His encore was a graceful serenata by Tosti. sung with much animation and gracefulness. The ballad “Caro Alio Ben,'* with its familial and plaintive air, was rendered with appropriate expression and melodiousness. Donizetti’s “ Spirito Gentile ” opened the vocalist's contributions in the second part, and it was presented with great feeling, the passionate crescendos being sung with wonderful power and artistry. As an encore, he gave Leoncavallo’s song. ** Alattinata,” which was followed bv Mascagni’s “ Serenata.” It seemed, however, that the vocalist had reserved his best offerings for fhe end of the programme. Ho gave a delightful rendering of “ Eeco Ridente,” from “ The Barber of Seville” (Rossini), and as an encore scored a great success with Tosti’s “ Aurora.” The audience demanded more, and Signor Notariello electrified them with a brilliant performance of Peccia’s sparkling “ Lolita.” The audience still refused to depart, and the young Italian generously responded with “ Pecche ” (Pennino). It may be fairly said that Signor Notariello reached his greatest heights in his last four items.

The principal artist is supported by an accomplished company, consisting of Air Gordon Short, (pianist). Alias Rav Fox (an Australian violinist), and Alias Elsie Kell (a Wellington soprano). Air Short is an excellent pianist, both as soloist and accompanist. He played a “ Fantasie in F Minor” (Chopin), demonstrating at once his remarkable technicsue and high interpretative powers. The crashing chords and brilliant arpeggios were plaved with the greatest facilitv, and the melodious movement was presented with grace and serenity. “ Asphodel,” by Cyril Scott, was given as an encore number, and it was nioelv played, though making small demands on the pianist’s resources. Later, Air Short plaved Liszt’s 6th “ Hungarian Rhapsody,” which is pre-eminentlv a concert piece. The brilliant octave movement, working up to a climax of great strength and power, was played in masterly style. This was followed by tl A Highlander’s Lament,” a simple but impressive funeral march by Barret, which was interpreted with the most touching effect.

A brilliant member of the company is Aliss Rav Fox, formerly of the Adelaide Conservatorium. She is a violinist for whom technical difficulties have no terrors, and who has a great capacity for -intricate and brilliant work. She appeared first with Air Short in a duct, the last movement in Cesa» Franck’s sonata, but later she played Sarasate’s “ Faust ” fantasie. In this item Aliss Fox raised the enthusiasm of the audience to the highest pitch by her sparkling and clever interpretation, the concluding waltz movement being given in a most entrancing style. This was followed bv a delightful rendering of Wilhelmi’s arrangement ot Schubert’s “ Ave Maria,” a popular solo with many violinists, but rarely played with such skill and taste. In the second part of the concert, Aliss Fox played with equal facility the finale of Alendelssohn’s “ Concerto in E Minor,” and as an encore the everpopular but somewhat hackneyed “ Humoresque ” by Dvorak. Aliss Elsie Kell, the soprano, is a pleasing - performer. She revels in bravura work, which she presents with a great deal of skill. She opened with the aria, “ Una Voce Poca fa ” (Rossini), iu which she sang the trills, runs and cadenzas with the most commendable facility and ease. She was less successful in “ The Call of the Woods” (Bath), but later on she gave a bright and tuneful rendering of “ With Aly Guitar ” (Wright) and “ The Garden AVakes ’ 5 (Phillips). The concert as a whole was a delightful one, which will long be a pleasant memory to those attending it. The company, who are under the direction of Alessrs J- and N. Tait, will appear at the Theatre Royal again this evening.