The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-04-12
THE STRAUSS RECITAL

No one who heard Nine. Strauss sing
the lovely songs written by her famous
husband, at Plymouth church last evening
will soon forget it. The bright, animated
face Of Nine. Strauss as she stepped upon
tho platform; the sad-eyed, almost dull,
bored look on the face of the composer
as he took his place at the piano; the
moments pause before the concert COM
menced in which the rustic Of silks and
programs became completely hushed; the
closing Of the singers eyes for a mo-
ment, and then the opening notes, that
seemed to flood the listener with delight
all these will form q part Of the picture
that will never fade from the mind. Nine.
Strauss operate training was apparent in
every song and every expression, but it
was a training such as artists receive
abroad. It was complete, satisfying. It
was "art;;' art Of the sort that makes one
wonder at the paltry thing that is so
often paraded for the genuine article.
Never was singer more appropriately
appareled with her delicate pink empire
gown en- traine, pink rosettes in her
bright brown hair dressed low In the neck
with pompadour, and all fitting tho
recognizable un-American setting for her
mobile face and charming manner. It
was very apparent that Nine. Strauss can
not compete with the noted singers Of
the day in quality Of tone and smooth
ness Of voice, but with her exquisite art,
her strongly accumulated temperament and
her very evident delight in her husband
songs no one could have sung them bet
ter or with keener enjoyment to her
audience.
In the child songs-and there were a
number Of ttese-one could see the tender
mother heart as we'll in the songs as in
the singer. Was it touch Of nature
her song took on lofty flight that was
beautiful and impressive. In the love
songs she was arch or tender as the SEN
timent seemed to require. Nine. Strauss
sang entirely in German, but the pleas
ure Of the audience could scarcely have
been enhanced had she sung in English.
Among such uniformly fine renditions it
would seem difficult to select any that
stand out as Of superior excellence. Her
closing number was, however, sung with
fine empreSsment, and earned for the
singer a spontaneous and insiStent encore.
OF DR.. Strauss playing there is moth
Il ing to be said but that it was simply
perfect It was subordinated to the
voice, and yet thru 1t all, the thematic
treatment, which is the distinguishing
characteristic of the Strauss accompani-
ment, was always apparent. At times the
piano score was simply exquisite in its
beauty, and it was always in complete
harmony with the vocal theme and senti-
| ment to be portrayed. Outlines there
| was a delicate play Of fancy and humor
| that belied the composer and seemed to
say that the sad eyes and the droop to
his shoulders were not the result Of MOI
the accompaniment to melancholy
| The program closed with "Enoch Ar
den," the text being read by Lewis Shave
| of st. Paul, while DR.. Strauss played the
musical setting to the poem. The whole
thing was intensely dramatic and inter-
esting. The different themes for the mo-
| tifs of the poem had been incorporated
into the program and were a great as
sistance in following the story. OF DR.
Strauss playing nothing need be said be.