Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1908-10-20
ADJUSTMENTS.

The Orphcus Conccrt--Glory, with
a big,big e. tells the story oflast nights
achievement by the Orpheus Club. 1t
is to be hoped their financial reward
VIII be somewhat near commensurate.
but the chances are that 1t Will not
for the expense of securing such a
quartet as that which the club pre-
scented last night must have been a.
aprodigious one, and handsome beau
$tiful and representative as the audi
ence was, it did not entirely I'LL the
house.
Very rarely. indeed, is 1t that four
song birds like Campanari Jacoby.
Martin and Rappold, can be arrested
In their fight across the continent In
the periods just before and just after
the big Metropolitan opens It's New
make 81 dash In a concert tour out
into the country but very seldom do
a quartet of the headlinors group
themselves together foT"a road engage
ment. The orpheus club, therefore,
was most fortunate In securing such
an attraction for the first Of its sub
scription series
The numbers selected by the famous
quartet last evening generally belong
III the standard concert list, some of
them, in the very venerable lists, but
the audience found no fault with that,
and the quartet from "Rgoletto,' tho
act from "rrovatore,. the Toreador
logue from "Pagliacct" were applaud-
ed as vociferousy as if they We're be-
ing heard for the first time. The OPP
ening number by the visiting artists
was the Rigoletto quartet. superbly
rendered by the four. even though the
dominate The first soloist to appear
was Campanari the baritone. His
number was to have been the aria Of
the factotum form the Barber or
Seville. but perhaps someone whisper
ed to him at the last moment that the
memory of Gosnrza in the same song
was still ringing in the ears OF the
the Paglacci Prologue. So big u re-
call did campanari get for this. that
he came back and rendered the Tor
eador song from Carmen, In equal
~ magnetic fashion. His tone is that
of a dramatic baritone, who can never
forget that he is an actor. Ho was
formerly one of the metropolitan
"standbys" In such parts at Rigol--
etto, The Toreador etc. and while
he lacks the beauty of tone and the
finish of Gogorza, he is still singer ana
actor whose vigor and style can be
relied on invariably to fetch his audi
encc.
le,a
style and manner We're as charming aa
her voice, gave an unexpected treat
by singing both her opening numbers
in English. the first being the tamlllaf
Chanson Provencale, and for an en-
core an exquisite little ballad open.
ing Just one thought Of my JEAN
Her tone production in this was per-
lection and she showed herself truly
the artist.
Mr.. Martin the tenor. also made a
strong hit He is Il young singer and
has something yet to accomplish IN the
way of drawing in his tone, especially
in tender passages like the PRISON
of his voice Is remarkable and no
tarries on his AS 3 flats and BIS. with
as little effort as other tenors sing
f and G. After the noble solo from
Pagliacci, he was recalled until he mad
to respond with another song, the
familiar ia Donna Mobile from Rig
eletto While 1t is n mistake to adver-
tise MI Martin as q companion of
Caruso. or even call him an equal OF
Constantine, who sang here with the
San Carlo company, he is still ono
of the finest tenors who has visited
us In many seasons past,
Nine Jacoby. the contralto. caught
the audience from the beginning. Her
Carmen number was done with ten
derness and coquettish charm that told
she could have acted it us well as She
sang it, Her rich, beautiful voice is at
It's best In the lower register She. too
was strongly encored, and she respond
ed with an English ballad, Because
MY Love is Come.
The trio from Faust rendered by
Nine Rappold, MI Martin and Signol
Cnmpanari, was one of the features OF
the night, and its effect was electrffy-
ing. This is the great number. In
which Nordlca created so rare an i'm
preston in Salt Lake on her last ap-
pearance. and while Rappold hardly
ranks with her she produced a won
1erful effect In her climb up that
grand theme. and she was very beau
tifully assisted by the male artists.
The last act from "Trovatore." which
introduced the prison scene, the solo
for soprano. the duet for tenor and
contralto, the duet for soprano and
baritone, and the final quartet. was an
evenings entertainment by itself, and
the singers We're applauded to the
echo. They graciously re-appeared TO
bow their acknowledgements, and
throughout the evening We're on such
good terms with the audience that they
smiled acknowledgements to tho gem
eral laughter when some little embar-
raSsment arose, from the creaking
floor and the arrangement of the
carpet. The impression they left
throughout was delightful one and
such as to insure the quartet or any
one of them a royal welcome, II they
ever choose to return.
The Orphsus Clubs part in the even
ing's program was limited to three
numbers. first the Nocturne by Pro-
theroe, second, Dudley Bucks "Buglc"
song. third, the noble Largo by
Handel. The club made a fine APP
paararce and under Mr.. Pcabody's
careful Interpretation, the numbers
were all finely rendered. The organi-
cation is at its best when it comes to
ringing bursts OF harmony and in sew
eral parts of last rights renditious,
when the organ under the hands of MIR.
Ebaugh. and the piano played by AIr.
Scott We're swelling the volume, the ef-
feet was admirable. The best work
of the night was the Largo: the ten
ors were unusually good. and the only
draw back seemed to be an occasional
uncertainty in the first bnsses, which
,,oodn1 st n ipH,,enca re .,