The sun., 1906-02-02
NINE. SEMBRICH IN RECITAL.
A BENARkABLE DISPLAY or ART
IN SONG SINGING.
An Entertainment which Rose to the Dig
nifty OF a Proclamation Beautiful
Programme Sung with Exquisite Fin.
,sh- Model FOR All Other Rccit alists.


Programme Sung with Exquisite Fin
,sh Model for All Other Rccitalists.
Narcella Sembrich, with capable aid
from rsdore Luckstone at the piano, gave
her second song recital yesterday after
noon in Carnegie Hall. II was one OF those
artistic mnistrations which defy critical
description Of the customary kind. The
,lt and dried phrases Of daily comment
become meaningless in the presence OF
an art 80 beautiful, 10 refined so touching
in its marvellous simplicity and complete
ness that it makes operate achievements
look like tinted Bacchante in the presence
of the Venus Of Milo.
Those who understand the words of the
songs sung by Nine. Sembrich are tho
only persons who can comprehend the in
finite variety of meaning she puts into her
voice. Her song recitals are the perfec-
tion of vocal interpretation. Intelligent
sccentuation and nuancing would not in
and Of themselves accomplish all that this
singing does Coupled with these is a COM
mand Of tone color which in light colora-
t,lre soprano voice. such as Nine. SEM
brich's. is wonderful and which in itself is
entirely beyond the resources of vocal
feCn0lC lllS lOUs tolOllliB 10 'hr o''NoiiN
nj feeling for poetic music that lies be-
hind the melody, a feeling so exquisite in
its tineneSs, 30 passionate in its tenderness,
that il trarsmutes mere sounds into per-
s,lasive and personal communication.
This Is what defies some of the super
fetal teachers of singing who form a not
inconslderahle part of Nine. Sembrch' S
audiences, and who in too many cases. IN
stead of profitng by the outpour of an in
eyhaustibe art and a beautiful nature
fr1tter away their time in vain attempts
TO discredit that which they cannot teach,
u is true. indeed that the quality which
races Nine Sembrich as a song recltallst
on platform peculiarly her own cannot
he taught. for this is genius and 1t springs
intultive!v to its own achievements; but
from those achievements humber aspirants
after truth and beauty can learn many
things unto their edifcation.
IN the opera house Nine. Sembrich is
admirable. On the recital platform she
rises to heights which the opera house
knows not. In the theatre the combined
elements that go to make the lyric drama,
scenery. action, orchestra, pantomime and
voice never reach sweeter flights of elo-
nuence tha this one little woman, standing
in the centre of prosaic platform reaches
with the all-potent spell OF her single voice
in such a masterpiece OF song as Richard
Strauss "Allerseelen."
She does not sing it as Mrs. Strauss sang
It under the direction of Mr.. Strauss the
composer, for the simple reason that neither
one of those estimable persons has yet
realized what can be done with this song.
1t would be interesting to observe Strauss
in the act Of listening to Nine. Sembrichs
delivery of the music. He would probably
once more throb under the emotiona spell
which must have loosed the fountains of
his soul when he conceived the musical
expression of the poem thought.
And why did not Brahms live to hear her
sing his -Nachtigal" as she sang it yester-
Of conception and adequacy. of execution
which stirred the entire audience so that
the song had to be repeated, The two
"Lieder der Braut" and "Er lists" Of Schu-
mann were further exhibitions of the same
sort. All these songs, together with Loewe's
"Glockenthurmer' T6chterlein," comprised
the central part Of her programme.
1t is no disprase of other singers to say
that her singing Of this group was per-
iormance. which topped long record C, OF
song recitals in this city. What the fu-
ture may have in store, no man may say;
hut a generation hence many will shake
their silvered locks and ray: "Ah, but
you should have heard Sembrich's recital
in 1906"
The first part of the programme was
composed of songs by older writers, and
here Nine Sembrich found room for dis
play Of her lovely command of the pure old
style Of cantabile. Her delivery Of fergo-
lesi's 20 Serpind> and Purcello Il attempt
from loves sickness to fly was daintily
finished but for genuine mastery of the
older styles her singing Of Rachs Patron,
was lnacht der Wind" and Mozart's An
Chloe wa, beyond praise. Mozart was
honored again by her singing of -Das
number after the first part.
But why go further? 1t would mean
only catalogue Of the whole programme,
for Nine. Sembrich sang nothing otherwise
than we'll And how skifully she made her
programme, with what keen perception Of
contrast and variety. and yet with what
Just Judgment of suitability in the matter
Of sequence.
The public is liberal in its treatmen
Of Nine. Sembrich's song recitalS; but these
entertainments. if they may be called by
such an insufficient title, are not yet ade-
qnately recognized. Public opinion ought
10 force this singer to give at least tlve
such rectals in the course of the season.
even If she sang les. frequently at the
opera.
Her mission on the concert stage is far
higher one than that in the opera house.
There she l. a JOY and prncely giver of
good gft-; hut on the recital stage she
i a public blessing, "A bencfactress and
mighty preacher. for she proclalms a stand
ard of art behind which glorious orihamme
the whole vocal host of this broad land
might we'll be proud to march.
News Of Plays and Players.
Walter n Lawrence who recently DUR