Evening star. [volume], June 21, 1948, Image 13

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
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TRAICWAyS
Pianists Perform at Galleries;
'Carmen’ Heard at Water Gate
By Alice Eversman
Piano recitals were the order of 1
the day in the' two galleries yester- j
day and at the Water Gate, the
Chicago Opera Company was fa
vored finally by the weather so that
its performance of “Carmen” could
be given. As it happened, this all
summed up to a good musical fare,
for the in-between season. In the
Phillips Gallery, Carol Finch played
a conservative program with fine ’
spirit in the afternoon, and at night
Vivian Harvey confirmed the im-;
pression she made last year in a
second appearance in the National
Gallerv of Art.
Miss Harvey, for all her youth, has
rare musical maturity. She has
reached the stage already where a
composition has a personal meaning
for her and in this manner she pre
sents her entire program. Beetho
ven’s "Sonata in A flat major, op.
110" was given an exceptional read
ing not only from a thorough mas
tery of its technical difficulties but
by a keenly sympathetic grasp of fits
emotional content. It is playing of
this kind, where the mechanics of
its exposition are secondary to a
voicing of deeper things that is
something of a rarity today.
Tonal coloring, balance, and ex
pert phrasing were employed with
an aim in view and that Miss Har
vey has sought this path so soon in
her public career is noteworthy.
There was the same reflection in
Bach's “Partita in D major,” each
section well defined in its particular
idea. Here again, the subordination
of a technique that could be used
for dashing effects alone achieved
expressive ends. Miss Harvey, who
introduced Arthur Shepherd’s “Son
ata No. 2” on her program last year,
gave a first local performance to his
"Digue Fantasque" as companion to
David Diamond's "Sonatine” also
heard here for the first time. Her
playing received the warm appreci
ation from the audience that it de
served.
Miss Finch had a comparable suc
cess in the Phillips Gallery for her
brilliant performance of works by
Beethoven, Chopin, Rachmaninoff.
Ravel and Grilles. Bringing both
an excellent schooling and exper
ience in public performance to her
playing, she showed a technique se
cure and of virtuoso sparkle and a
musicianly approach in interpreta
tion. These qualities, however, were
too uniformly applied to each work
without the difference in inflection
necessary to distinguish the styles
of the composers.
The most notable of her numbers
in completeness of presentation was
the Beethoven “Thirty-two Varia
tions." In each of these short bits,
the theme was always clear even
in the more complicated inversions.
She found more than ingenuity of
creation in them and was able to
infuse them with beauty and senti
ment. Liquid runs, clean-cut stac
catos, varying degrees of power and
sharply defined dynamics embel
lished her reading of this work.
Because she has so nne a com
mand of technical requirements, she
allowed it to dominate her delivery
of Chopin’s “Ballade in G minor"
and “Scherzo in G flat minor” and
also In Grilles’ “The Night Winds”
and “The Lake at Evening” with
out coloring it to conform to dif
ferences in style. She has both
power and brilliance and while
these are directed with musical feel
ing. the pattern of her playing is
much the same. She came closer
to a divergence from it in Rach
maninoff's "Preludes in E flat ma
jor and G minor.” Her listeners rec
ognized the polish and elan of her
lerformance and applauded with
nthusiasm.
Martha Lipton Gives Good
Performance.
The Chicago Opera Company has
lot taken the public into its con
Idence as to what it would do when
;he rainstorms of the past two
lights made postponements neces
sary. It is doubtful if every one
mew which opera would be given
ast night when a clear sky and a
full moon guaranteed a pleasant
svening at the Water Gate. "Car
men” was chosen with "Madama
Butterfly” scheduled for tonight.
This was an opportunity to near
Martha Lipton in the title role
with Vasso Argyris appearing as
Don Jose. Miss Lipton was vocally
>ne of the most pleasing singers to
take the part for her voice is sweet,
strong and even. It has not the
5ensuousness that it ordinarily
associated with the gypsy girl but
she can do many expert things with
it and it is fresh and vital in
quality. Certain as she was in her
Ideas of characterization. Miss Lip
ton is not capable dramatically of
adding anything new or interesting
to her interpretation. She has
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beauty and stage presence, but gave
more tbe impression of an attractive
young woman than the “sorciere
infame” Jose calls her.
Mr. Argyris was excellent in hisj
role, his singing of the second act
aria being free and ringing and his!
action in several scenes having an
original turn. A sweet-voiced
Micaela was found in Constance
Melodie who managed also to look
the unsophisticated country girl
she is supposed to be. Alphonse
Pichette was the Escamillo who1
might have cut a more imposing
figure if any one had paid any at
tention to him on the stage. As it
was, he had to sing his aria ex
clusively to the audience which, of
course, is no hardship for any
operatic singer.
The other roles of importance
were' capably filled by William
Wilderman as Zuniga, Adrien IJa
Chance as Morales and Remedada.
Margery Hamill as Frasquita and
Lorraine Lorre as Mercedes. The
chorus is inept and badly trained
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and the scenery just fufllled the re
quirements. It was not a very
spirited performance although Carlo
Moresco, directing the orchestra,
tried to speed it up; yet the sing
ing on the whole was above the!
average. Paul Hume was again the
narrator.
Officials to Attend Clinic
Two representatives of the Health
Department will attend the First
National Sanitation Clinic sponsored
by the University of Michigan School
of Public Health and the National
Sanitation Foundation this week at
Ann Arbor, Mich. They are William
H. Cary, jr., director, Bureau of
Public Health. Engineering, and
Joseph S. Stauns, inspector of the
Bureau of Pood Inspection.
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