The San Francisco call., 1905-02-08

no other singer. She represents the
JeWeled and luxurious side of art in her
every phase, the royalty of music, the
/ queendom of song
The suggestion was in ample and
most agreeable evidence last evening.
No singer coming here of recent years.
for example, has surrounded himself
or herself with such iuxuriously dis
tlngulshed company as sets Melba
about this season-Gilibert. who de-
velops as thoroughly delightful con
cert singer; Sassoli. a young girl harp
list who is a phenomenal sort of person;
Ellison Van Hoose, an effective tenor,
and Mr.. North, flutist worthy of his
duties as obligato maker to her
majesty, Melba. Add to these an effec-
tive local orchestra numbering fifty
men, under Paul Steindorff' direction.
and II will be seen that the setting is
worthy of the diva.
IT is four years since Melba was here.
singing the mad scene" from Lucia >
as she sang ii last night. OF it and
her l wrote then-in my young and
enthusiastic days-"Her voice suggests
as no other voice the word perfect.
1t IS the voice of which one has
dreamed, dropping the silver chain of
sound without a break 1t is as the
lark's that at heavens gate sings.
crystal clear, each note pure as pearl.
from the merest silken thread of a
sound to a round, full. victorious note
bf an infinite deliciousness of salts
faction.
The suggestion of technique in the
connection seems a fallacy and a su-
perstition. yet it must be remembered
shat here to nature has been added
perfect art, that highest art that con-
ceals art. She has a wonderful STAG
cato, drip-dripping it's light and liquid
note into the harmonious chalice of
the orchestra below, or flying sheerly
heavenward-where the angels prob
ably make it over for home consump-
t!on"
/ could not quite set my name to all
&C that now, that is, as to last night S
concert. There is still the same mar
Velous, absolute ease of method still
the wonderful liquid, fiuty quality of
voice, yet the voice had not last night
the brilliant sheer purity it had then.
One got husky threads now and again,
particularly in the upper range, which
is possibly why the singer saved her
self more than one top note-not to
mention a cadenZa or two-in the mad
scene" But 1T is glorious voice,
natheless, so round and rich. Tetraz-
zini? OF course. Well, l dropped in for
half of the mad scene" at the Tivoli
iHSl iliSHl-N dOlIiS luTOuSn SIX Qeep
standing to get near to it. Little Tet-
razzini and the flute were engaged in
their immortal duel of sweets, and /
had just heard the other One may
still be very glad of Tetrazzini. Of
course, Melba's voice is larger, as I
have before said, and it is sweeter,
richer-richer now than when she was
here before to my ear-yet the Tivoli
prima donna distinctly has it in purity
and freshness. And you got all the ca
denzas. The curtain, too, fell on a
clean, dazzling high note that Melba
herself might have owned. We may be
very glad CT Tetrazzipi.
OF course the mad scene" was en-
cored, and Melba gave them an en-
urely charming French chanson
Soir Paien," exquisitely sung, and
delightfully."- accompanied by Mr..
North on the flute and Miss Davies at
the piano. The real event of the even
ing was, however, the singing {
Tostfs Goodbye" which not altogetn-
er distinguished ballad Madame Melba,
contriveG to transform into a little
classic tragedy. 1t was as full of emo
tional spell as that immortal Marguer-
ite she gave US here, and aroused an
extraordinary enthusiasm. The en-
ccre, Over the Hills" was sung with