The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1907-01-01
ADJUSTMENTS

Schumann-Hein sang at the First
Methodist church last evening, which is
30 say there was some great music In
that church-the sort OF music chat makes
one glad he came and wish for more.
1t is not easy TO define the charm of
the singers voice. She IS not beautiful,
except in the impression she gives of gee
NAL good nature and wholesomeness and
cDmradeship; she has none of the airy
graces of the traditional great singer; she
| Is of q bigness. as they would say
abroad: her smile is large, her figure is
! large and her voice is tremendously large.
And with IL all she has a charm, a dra-
! matte force, a way Of reaching out and
| taking hold Of her audience III an intimate
! way that is irresistible.
| One might be hypercrtical and suggest
| that in n concert for the average audi
ence some two or three of the simpler
! English ballads would have lent interest
/ for the uninitated who are not familiar
with the purely classical numbers, but
for music lovers the selections were ad-
mirably chosen. Ranging from the Schu-
! bert songs 10 the final prison scene from
! 'grhe Prophet from the delightfully."-
| naive fourth song of the Brahms cycle 10
! the impressive dramatic Meyerbeer aria
every number was n delight, an artistic
treat. In the twoscore solos of the pro-
| gram and encores it would not be easy
| TO choose the one that gave most pleas
Jgre, and any discrimination would depend
| upon the auditors taste. The Scnumann
songs We're given with restraint and del
| ifacy and feeling that few singers APP
| prOach. The descriptive List song,
| THE Three GypSieS. was great. no less
] One who had never heard the words or
| theme could divine from such interpre-
1 tation the intent of the song, so rich was
the coloring. so precise the expression
| and so complete the rendition in every
phase. The Brahms cycle, six Hungarian
gypsy songs demanded and received n
wide variance Of conception, an exquis-
| ite tonal painting OF emotions. And. fin
ally. the prison scene--a great dramatic
poem calling for immense power. exact
/ ing all the possibilities of big voice,
with the most trying necessities OF vO-
Nine. schumann-Heink was more than
equal TO the requirements OF her pro-
gram. Her voice is remarkable In it's
sonOrous breadth and certain cello quail
4 ity. as well as i'm its astonishing range
and purity and fleXibility, and the ease
with which she manages alike the most
difficult dramatic passages and the dam
! test lyrical score is a revelation. With
ness and infectious good humor entirely
| captivating. That she won her audience
goes without saying and the enthusiasm
which greeted her every appearance must
/ have been most gratifying.
Miss Schaul. who accompanied the solo,
! ist. is pianist Of ability and added ma
| bers ana an encore IlsZts ,Lleoe-
straum' and Grieg's 'Hochzeitstas'
We're the program numbers, and the en-
| core was Gries's Spring Song the
/
| pretentious OF the piano solos, was SPLEEN
didly given, and the Grieg encore was
/ interpreted with fine feeling and effect.
! The glamour of dhivalry: the days when
men laid down their lives for bow of
| ribbon. a flower a smile; the castle
walls; the dungeon; the court fool with
/ cap and bells; the days when Elizabeth
and Mary were the centers of a thousand
schemes. with thrones and kingdoms as
| the forfeits: the days when lovers woced
! their swectheartS over Vine-covered bal
/ cOnies-all this and much more is Dor
| trayed in Dorothy Vernon OF HaddOn
! Hail.
/ 1t is just what the playbill says il IS,
| a romantic play. ana Alberta Gallatin and
! Walter Pennington make the most of il.
/ Miss Gallatin has never been seen in
| anything better on the local stage. IN
! the part of Dorothy. the proud. whims-
/ cal, impetuous. spoiled. beautiful dauEn-
/ ter u a proud English house, she is all
! that could he desired. She runs the gamut
: from open and bold defiance Of her domi-
! neerng father to the acme of friEoiity
i'm dancing like a barmaid before naughty
| Queen Elizabeth. She is never weak Her