The San Francisco call., 1904-09-22
FRANCESCA
w ms APPLAUSE
FOR FINE VOICE

One of the most beautiful voices ever
heard here, and one of the ,most ex-
asperating methods of using it. are
those of Nine. Fannie Francisco, the
California singer, who reapDeared here
last night at the Alhambra after an
absence of twelve years. A large audi
ence welcomed her. and was patriot
ically generous of its applause.
Much was expected of Nine Fran
cisca. For the last three years she
has been the prima donna soprano of
the Opera Royal at Amsterdam.
Paris has approved her-I have seen
notices in lie Gaulois and Figaro that
would not have been disdained by a
Melba-and the singer has been gen.
orally recognized. So far as the voice
is concerned it is true that one could
not easily be over-enthusiastic. 1t is
of extraordinary beauty. The fortes
are full. sweet, round and intensely
penetrating, the pianissimos almost as
silkily fine as Melba's own. The quail
ity is even from end TO end, and of a
peculiar liquidness. The range is large,
with low notes of fascinating beauty.
In fact, one needs to hear no finer
voice 1t is to its use that one must
object.
Technically there are all sorts of OBJ
jections-muddy vocalizing, Indifferent
breath control. faulty enunciation, pro-
nunciation and interpretatively matters
are worse Take the Home, Sweet
Home" for example, of which as an
encore the singer gave a dramatized
version One permits a Sembrich to
warbie mo place lax home" but these
and similar errors in English are hard
ly permitted to the American-born
singer. The phrasing of the ballad was
singularly bad and the whole thing SEN
timentalized out of all resemblance to
the simplicity that is its chiefest
charm.
Better is Francisco in the ioriture
stuff, in which, forgetting the spirit of
the song. one may simply joy in the
voice. She gave first the we'll known
aria from "Traviata," chiefly remark
able for the length, breadth and thick
ness of the trill. Like Russo with his
top notes. Francisco is generous with
her trills, that are sometimes good and
sometimes not. But it is an eXtraor-
dinariIy flexible voice. the Massenet
"Elegie" followed, in French better
than the singers Italian-that has fill
tered in by way of the Dutch apparent
ly Best is her German and. curiously.
Francisco sang the difficult Strauss
"Stanchen" most pleasingly of her pro-
gramme, with sympathy and dramatic
elle," the Proch Variations" the Mey-
erbeer lie Pardon dc Ploermel" and
the mad scene from Lucia" were f1orid
numbers, all distinguished by the same
unsatisfying vocalizing. uncertainty in
tonated upper notes, monotonous read
ing and ravishing beauty of tone.
Nine. Francisco was accompanied by
Melville Ellis. the Beau Brummel of
the Tivoli. Mr.. Ellis accompaniment
were as clever as his accordion pleated
shirts. They were sympathetic, dis
Greet and generally efficient. In his
solo. an arrangement of Charpentier' S
Louise, Mr.. Ellis discovered an easy
technique and a notable dramatic SYM
pathy Louis Newbauer's flute play
ing in the German suite came delight
fully. He was ably seconded by Mr..
Ellis He also accompanied the singer
In the Lucia" mad scene" But Mr..
Newbauer's flute or any other has no
chance against the Francisco voice.
For the simple beauty of it 1t should be
heard She gives another programme
on Saturday afternoon.
BLANCHE PARTINGTON.