isa-normaladvance-1909-00173

Description:	THE NORMAL ADVANCE173pleasing, but her Jewel Song was given in toolight and dainty a manner. It lacked thestrength of spontaneous and convincing delight, such as Corrine Rider-Kelsey gives inher interpretation. The Angel Song in thefinal scene was more satisfying, and is one ofthe most beautiful songs ever written. I think,however, that Mrs. Kelsey can excel in this asin the Jewrel Song. Many of the Normalalumni will remember this Angel Chorus asgiven in a June concert two years ago, and themusic students of Miss Parr will doubly appreciate the study of operas with her when theopportunity of hearing them given presentsitself, and will feel like old friends giving gladgreeting.Leon Rains, as Mephistopheles, while possessing a glorious voice, was a disappointmentdramatically. His interpretation was of theclownish type, rather than the fiendish andthrilling Satan, such as Eduoard de Restzkeinterprets. In consequence the part was weak.The renowned Melba and the vivacious andcaptivating Trentini I heard in La Boheme.Melba has the most perfect trill of any of thegreat coloratura artists. Her voice is sweet,perfectly poised and her work is ideally artistic.Trentinis greatest charm, as Musette, is in herspirited acting, enhancing it by a young, freshvoice. As Lisa, in La Sonnambula, she carried the same vivacious spirit. Constantino, asRudolph, shared equally the honors with Melba,delighting all with his splendid tenor voice.Didur, as Ramfis, in Aida, displayed adeep, resonant basso of great sweetness. Hisstrongest work I heard in the titular role of LeNozze de Figaro. He is satisfying and convincing.The great tenor, Taccani, I heard as Ed-gardo, in Lucia di Lammermoor, the loverof Tetrazzini as Lucia, and their work togetherwas beautiful. I again heard him as Turidduin Cavalleria Rusticana. In this opera I hada keener enjoyment of musical harmonies thanin any other. The prelude, the first song ofTuriddu and the chorus were wonderfullv richin beautiful harmonies. Mme. Labia took thepart of Santuzza in this opera, it being a tragicpart, splendidly taken by her. Her voice is apowerful one, with a peculiar charm of coloring all her own.Mme. Aida I heard with pleasure as Anna,in Le Ville. This is a beautiful opera andthe moonlight scene in Winter, with the treesladen with snow and the wood elves dancingwas like a dream in Fairyland.Bernice di Pasquale I heard as Susanna, thebride of Figaro. She is a splendid actress, possessing a pleasing though not a great voice.One of the most delightful parts in this operawas the duet between Pasquale and Gadski asthe Countess. The audience would not let theopera go on until they had repeated it.As for the orchestra, the New York Symphony, which I have heard several times, isby far the greatest. Their work under the excellent leadership of Walter Damrosch is delightfully satisfying, being perfect in beautyand artistic finish and completeness. On oneoccasion I heard them with Isadora Duncan,a most wonderfully graceful dancer, who interprets the great symphonies of Beethoven, thebeautiful waltzes of Chopin, and dances ofGrieg, in a charming manner. Her dancingand costuming remind me of the fairy-likenymphs in the paintings of Corot. Her interpretations are both dancing and pantomime,and the fact that each leading motif in themusic was always represented by the same stepor pose made it exceedingly interesting. Theaudience positively refused to leave at the closeof the program, and the artist very graciouslyadded three numbers. It may be of interestto add that Miss Duncan gives all of her workbarefooted, her dancing being a revival of theGreek art of two thousand years ago.The musical prodigies do not appeal to megreatly, having heard Tina Lerner, pianiste,in her American debut with the Russian Symphony Orchestra, and the young violinist, Albert Spalding. Both are good and have apromising future, but I prefer the mature
Source:	http://indstate.contentdm.oclc.org/cdm/ref/collection/isuarchive/id/34203
Collection:	Indiana State University Archives

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