The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1899-09-29

makes one exception, and it is polite TO
give her the benefit of the doubt. Rou-
ladies', trills, turns sustained tones, high
notes and all possible forms of melodic
figuration were reeled off with ease and
without the suspicion of false intona-
ton or blurring. Her execution is i'm
peccabla. Her voice is not so larte as
is often expected Of singers of her fame
but in musical purity and freshness 1t
is JOY to the ear, for 1t has not begun
to show signs Of wear Furthermore,
though its range is uncommonly broad
she never forces her tones for mere sem
sational effect, and thereby she demon
strates her artistic sense.
Recalled again and again, Nine.
Sembrich signalled Mr. Kneisel, and
the orchestra started "Ah, non giunga,"
the "Somnambula'' air. at which the
knowing ones in the audience forthwith
nodded and clapped their hands. 1t is a
simpler broader and more telling mel
ody than "Casta diva" and the ap-
plause was deafening. In "Elsa's Wis
ion" Nine Sembrich made her first
public essay in Wagner. Concert go
ers are accustomed to hear this song
acclaimed more robustly, but much less
beautifully sung. In no other piece did
the clarity and charm of her voice APP
pear more conclusive. What a rarity it
is to hear such music sung in perfect
tune and with musical grace, those
who follow Wagner opera can testify
What Mr.. Miles lacked Of Two
grenadiers'' or one grenadier in stature
he made UP in voice and defiance, and
the emp'ror" should have been pleased
to own him. He sang Schumann's ia
nous song with much spirit and no in
considerable dramatic force. 1t is also
to his credit that he declined an encore
after three recalls
The "Jephtha' pasticcio, Deeper and
deeper still" is one Of the most moving
songs in the surviving Handelian tenor
repertory, and Mr.. Williams is not to
be blamed for choosing it. There were
| sweetness and pathos in his voice, and
he came as near making a good dra,
matte climax as his nature will allow.
He, too, was loudly applauded. Mrs.
| Katherine Bloodgood resurrected the
saccharine "Favorita" aria 20 milo
| Fernando" but she was not in her best
voice, so that the richness of her con-
| tralto could not be wholly appreciated,
and her intelligent efforts We're some
| times brought to naught, though a re-
call was not denied her.
1t was Massenets "Herodiade" aria,
| vision fugitive" that Mr.. Ffrangcon-
| Davies came nearest to giving that
| satisfaction with his voice which is one
Of the most enduring memories Of the
| preceding festival It goes without
saying that fine phrasing and artistic
appreciation of the music were present,
but there was also a more ample tone
than has hitherto been vouchsafed by
him this year and the generous APP
probation Of the audience was deserved
The last half Of the program was de-
voted to selections from "Lohengrin."
The orchestra played the stirring pre-
lude to the third act with lberality Of
noise and none too great clearness, but
with considerable dash. OF Nine. Sem
brich's singing of Elsais vision. moth
ing additional need be said Mr. Will
Jams missed his cue for beginning 10
hengrins narrative" and despite the
sweetness Of his voice and his appro-
priately straightforward and earnest
legato style, fell short Of the electrify-
ing climax, His knight am /. and Lo-
hengrin my name" The translation