LYDIA LIPKOVSKA.

Star (Christchurch), Issue 17220, 11 December 1923, Page 5

LYDIA LIPKOVSKA.

FOURTH CONCERT. Madame Lydia Lipkovska wove her subtle spell once more over the audience which gathered last night in the Theatre Royal to hear her fourth Christchurch concert. The more Lipis seen and heard, the more easy it becomes to understand the reason of her popularity. She never exaggerates, fbr a gesture of an expression from her can tell more than a poor scribe could hope to do in a volume The programme which she sang last night showed her more as a lyric soprano than anything else. There was very little dramatic work, but that which she did sing revealed interesting facets of her art. She is at 1 home in both classes, but in the lyrical work there is more opening for her delightful winsomeness. The extensiveness of Lipkovska s repertoire is remarkable. It ranges over the best and most interesting in musical literature, and she never has to fall back upon a repetition. The first bracket of last night’s programme orened with “Depuis le Jour” (Char pentier). It was essentially a lyrical composition sung with the fud appreciation of its lvrical intent. Following this was “The Night,” a we’l known tong of Rubinsto’nk. and “Va. .e" from “Romeo and Juliet” (Gounod). These two numbers were sung with splendid artist? y, and in tl.e “Valse” thve were bars of great beauty. Her encore to this was “Let Me Laugh” (CxitroneL which has proved itself to be one of the most popular eergs she si.’gs, for the reason that it gives the fullest possible illustrati )i cf her powers both as a singer and an actress. It is a song that begins with the laugh of mockery and ends with the cry of sorrow. The laughing fits in with the music in an excellently contrived fashion, and "the number is one that as sung by Lipkovska will linger long in the memory of thelisteners. The second group was composed of numbers essentially lyrical. “Where’er a Snowflake” (Liza Lehmann) is really delightful, and Lipkovska’s last note as the snowflake melted away was of a brilliant liquidity. The other numbers were “ Yesterday and To-day” (G. Rpross), ‘‘l Am the Wind” (F. Parr Gerre), “To a Messenger” (La Forge), and “ Yellow Sands” (La Forge). For the third group the singer was dressed in a dazzling Russian dress, and her numbers were chosen from the works of Russian composers. The first was “Hymn to the Sun,” from “The Coq d’Or” (Rimsky-K'-rsakoff). It. is a fanciful song and Lipkovska created the eerie atmosphere as only an artist could. “ Not a Word ” (Tschaikowsky) was a song which gave the singer opportunity to do some brilliant vo-» calisation and the little coloratura was like a string of glistening jewels. The encore number was “ Mazourka No. 1 ” (Chopin) which is tho only composition which Chopin made for the voice. It. was done especially for Madame Zamhrick and it was given by her to Madame Lipkovska. If it came to her as a privileged gift it was certainty well deserved. The last bracket of songs consisted of Pastorals, and her shepherdess dress, while being very beautiful, would not have been much use from the purely utilitarian shepherdess standpoint. All the numbers were very beautiful, but the best of the artistic effects in this bracket were spoiled by the thudding of the auxiliary electrical dynamo outside the building. Still, she competed bravely against it, and a of applause gi'eeted her when the songs were finished, for all realised that, she had had a had time through the various little interruptions of the evening. As an encore to tho last group she sang “Somewhere a Voice is Calling.” M. Alexander Sverjensky did some brilliant solo work on the pianoforte. His biggest number was Liszt’s “ Grandcs Variations sur in Theme de Bach.” it is an inspiring work full

of a fine religious atmosphere which works along into a beautiful chorale succeeded by a brilliant finale. All the qualities in the music were brought out in a masterly fashion by the soloist. His next group was composed of Scriabine’s works, and it was au extremely interesting set to hear. He began with three Prelude® Op. 11, which were followed by two Preludes Op. Iff The final number was a. mazurka in C sharp minor. It is a composition of Slavonic vigour, and the predominant melody is exceedingly graceful. The whole group showed that the soloist is a master of interpretation. Beside the solos INI. Sverjensky subordinated himself well as a sympathe tic accompani st.

EXTRA CONCERT TO-MORROW An extra concert has been arrang

to take place to-morrow night in the Theatre Royal, when Mme Lipkovska will take her farewell of Christchurch music-lovers. A special programme has been arranged and includes “ Song of Gruzia ” (Rachmaninoff), “Caro 'Nome ” from Rigoletto (Verdi), “ Solveig’s Song’’ (Grieg), “ Siadness ” (Chopin), Cyril Scott’s popular “ Lullaby,” CVmtrones sensational laughing song, “ Laissez-Rire.” In the wonderful French “ Pompadour ” costume the famous singer will give “ The Gavotte’’ (Lemaire), “The Fair Little Page” (Busser), “ Menuet Pastel” (Martini), “ La Pavanne ” (Bruneau), and in the charming Early Victorian costume, “In 1822 ” (d’Hardelot), “ When I was Seventeen ” (old song), “ Two Little Blue Shoes ” (D’Hardelot), and “ One Spring Morning” (Nevin). The. box plans are at Tho Bristol, and the day sales at the Theatre Royal confectionery.