The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-11-27
N The WORLD OF MUSIC
AII>stN 3HD EDNTI ~ COW
fFRr SINGER.
'i> Remarkable command of English
Tr>t <stoolshrs a Large Audience
,.rn-rai oprrstic Reb",rin=S over
the Rrapp-aranr- er the Ancient
Do'i,sle iiill 4 VrirOmr To Rrnauti.

49, N's' TWO -4knlIcant musical lnri-
dents IA IN" last week On" was MIR
'iahl"r'~ Interpretation Of SChumann's &
major symphony. of wh CHI III" less said
tu' better, and tho Other was MIR. Borcis
srnS recital which WAS brilliant beam of
artistic sur light "a "A rather dark and
gloomy area 81 musical depression. "
y 81 embarked IN this place on tn" morning
AZTEC tur concert rnat tA. entry ~, IN opera
s,ng"r into IN" field Of the song recital
should always he viewed with disfr,Ist
J has j. "A fact which cannot he. too often
cons idersd
Very few opera singers can stand the
i'-t of being reno I'd from III" surround
lIS- Of tho th"lt-". III" assistance. ot
..rf ION il essential :. many NJ them IN
d"''d. to most or thorn In this they re-
veal their rld.c'l differences from tho
mighty master singers Of che golden = 90
uf song In the wondrous days OF tho
s"ventsenth century. when ali opera scores
We're dazzling bla2rs OF vocal furidIty. the
operas were con ftIctad IN such "A way
that the singers had very litil" acting To-
20. Their principal BUSINESS was to
stand It'll and sung. and when they were
not singing 10 move - little "a possibl" in
order tina; III, breathing should be- calm.
sustained and even for tn" support Of the
long ornamental phrases of the set num-
berS
In these DAYS singers rush about the
stage. hrardish their arms. waG their
heads. fall down. get up. climb rocky
mountains. roll down flights Of stairs and
n general Civ. lIfelike limitations of Mrs.
leslie Carriers famous training under the
wizard of the theatre. David Bela-co
Meanwhile the orchestra thunders and
hlares- or iwld'i'ssS and strumS and
Paints all sorts OF fanciful tone pic
'ur"s which distract the ears even 1T
those who can hear only one thing AZ
a time so the opera singers Who can
do lot Of acting (which usually
means making many movements, and
enjoy he merClful protection of many
accord- IT brass. can also do some pretty
nad singing and still achieve great
pCpular >ICCesS
Bu when YOU take all that away from
him and stand him up against a piano in
the middle 81 "A hare Stage facing single
handed an audience of $3.50 people and
C,mu".l,d 20 remain ~t'll while he invites
them q" listen TO his unsupported. I'M
rrN. t'cd. unCon"ca!ed singing. you are
"-N NJ 81 him something from which
" nr wise. he will shrink IN long hesi-
;aiioa
NJ Rrrcis entry into the field Of the
ron- r".l;"i Wa not regarded even by
those who could hest appreCIat" the ex-
uut-i'" iuI-h OF hI- AIT a. an experiment
certain 10 meet with popular approval
Nh"n all other features are set aside
tn"r' remains IN" Indispuiable fact thar
th.- artist = voice l. small. thin IN quality.
aud "autng IN variety Of color II il
,hI.ly Il" ici"n III communicative
warmth For theS. reasons u seemed
l."k hat IN, -onC rscitals might be
found mono ronou-
r. w'n cl'a. judgment he avoided
many ,.'ia'lr mo which hc might eas V
hL. iI-.'H II D.. trtI" ihl' h. attempted
p" luE -hd' 'aId". but as ne does not
tnov G'rnan n" co,Ild hardly be- expect -
to union cai Ju.t wsl' h" mics IA
tn" 'p.r-I,l character Of beet hov'u5
',n- On the other hand IN n. ,.l.c-
tor. from Older L. IIan opera hi sN-
81 to- poll he'd VI" and his perfect
'pr" Ia. fon % : 4" Iiusic CAV. unHlloved
, angh
Eui doubt l"'. IN" f-arur.' Of nir enter
ta,nn"U- which excited IN" moot anton
i>um'nt wa. hIr dc lvory of cong with
fn,ii = reN, Il We beautiful and capt.
var.ng beyond dcrcript ION II would
b' i-rpc;i. iblr for any one o ring -Hark
hars. ;he iark more charmlngly than
nc did. and she lyraC" and rwC.tne,-s Of
n" Who IL SYLVIA could not be sur
pa,soi
His "nun, la,Ion Of the English wordT
va so clear that u WAS not only easy
- uuiOty' and averyt hing he raid. or
IA h"~ ing but /, wa7 newt able that
on" must do 20. Here indeed was the
achl" ."-n"nt of p--fcc; vocal art
singing m q strange tongue. which con-
tanned ,ounGs ouch a. th. tn which
la. had never met ~ his own language
'his aimlrabl" mart"r Of vocal ART pro-
nouue'd with brilliant "iearnesG every
word while preserving perfect the beau
tifll flow Of hyi cantiI"na
Il WI such a l"f ION III IN" fundan eni al
t"rhn.s1 Of rinEinG a. hardly another
could have giycn. He made the English
sound ravirh.ngIy sweet upon the ton que
n. indeed IL ough' to sound when II il
Ge'Iyo-cd correctly.
only Se.nbrich has rivailed Bonci in
thu ld"Ili:ation Of tn. vocal character
Of our native speech. Mr. Rogers follows
both these famous singers closely in the
matter OF inteliigibIlity; but, perhaps
h.carIse h. is an American and lacks tn.
perspective Of foreigner his English
POUNDS matter 81 fact. while theirs has a I
quality oi art.
In one other trait II his delivery Mr.. !
Bono set a model for all hearers. namely. .
la III. noble rcpo-. and profound resource .
OF his phrasinR. How exquisiteIy he
obey"d tn" Injunction Of the old masters
to -hlar II tunno,- No on" heard him
-rTainlnE and pushing to- max. tones big. ,
No on. heard him ga-ping for breath to
stretch phrases ~ the crack of doom. :
Vet his ton" vItaliz"d the melody. and his .
Jhra-e- spun out with marvellous nus
nandry "f tn" breath support IA thin.
sweet column of sound. wer" elegant
"a complete and az satisfying a. the arches
that constitute "a cathedral nave.
Why can't all singers learn to sing N
this high. continent. repOseful style
Can IL b.. that there in too much aduIatIon .
81 tn" sjaculatory defamation 81 th.
modern opera VIVA; "A pity IL IL that ih"