The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1905-01-24

ing smcothness and naturalishess, and
the more intricate the music from the
point of execution the more suitable
to her voice.
There was illustrated at last nights
concert the potency of the personal in
huence OF the singer, his ability to pro-
and win by other than purely vocal
ability, in the comparative receptions Of
the two male singers, Monsieur Gilbert
and Mr.. Van Hose. OF the two, the lat
in the n respect of enunciation OF
which Monsieur Gilbert is so complete
~ the master that. although all his
songs last night were in French, one
could follow the words readily, even if
one knew only a very little OF that
language. Monsieur Gilbert also ex-
GELS in breath control His is almost as
good as MADAME Melb2'S D.. But the
smoothness and ~hexibility of Mr.. Van
HOSES voice are unusual and his per-
Torrance of his number. the Heavenly
Aida" of Verdi was hawless from the
standpoint of that school. However,
Monsieur Gilbert who is big, handsome,
magnetic, with passion, poetry, senti-
ment, humOr, all the strong human
qualities which allure no less in an art
list han in a man. was the favorite
with the audience, although his voice IS
really not so well trained as the tenor's.
His reception after his first appearance
when he sang two Eighteenth century
songs one by the Padre" Martini,
"Plasir d'Amour'' and one by Wekerlin,
F1lletteS," was almost as en-
thusiaStic as that of the star OF the even
ing His voice is sonorous, rich in ex-
tent and delightful in quality, he
phrases artistically, and has complete
of the MESA di voice. He put
so much temperament SO much drannat-
ic sensibility into his simple little French
songs that one longed to see him in one of
his strong operate roles where his his
trionic powers and poetical interLreta-
lions could be enjoyed to the utmost.
Madame Melba's youthful protege,
Signorina SaSSOli, a girl apparently not
more than 1S appeared upon the pro-
ANN four times, twice in solos, once
in the opening trio for harp, piano and
flute and once in accompaniment to
Madame Media. She was encored every
time, so it is evident that the audience
liked her. This may have been partly
because she is so girlish and pretty and
because it was 50 fascinating to watch
her lovely round arm and supple hand
but il was also no doubt owing to the
TACT that her performance showed a
mastery of her instrument remarkable
for SO young a player and only posi-
bic through laborious n painStakins
study. There is a good deal of same
ness in harp music and as the pro-
gramme was originally arranged with
evident intent to give her the largest
opportunities some OF the au-
dience could perhaps have dispensed
with the encores without -disappoinu-
ment but the programme was none too
long. Madame Melba and her company
were gone by half after 9 o'clock and
the Auditorium was empty by 10.
The other meWbers OF the company
were Mr.. Charles K. North, flute, and
Miss Davies, piano. The former appear
ed in the opening trio and accompanied
Media in the mad scene.
Miss Davies furnished the accom-
paniments and although her part of the
performance was not spectacular h is
accompanied of rare excellence and
is no less an artist in her line than The
singers are in theirs.
Every number was encored except the
first, the trio for harp, flute and piano
and the artists responded generously.
Melba sang two French songs, in en-
core to her first two numbers, the Sec
ond a very lovely ballade, new to To-
peka, with al exquisite accompaniment
which Miss Davies placed most sympa-
thetically. II Response to the violent
demonstrations after her third number
Love in Spring Time, she sang