New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-01-11
AN EXQUISITE SONG SINGER
Nine. Julia Culp's First Re-
cital.

| I'm Nine Julia CUP a numerous audi
ence In Carnegie Hall yesterday afternoon
made the acquaintance or singer "ho
| is going 10 bring not only pleasure Out
| happiness 10 the lovers Of the art-sohS
during the rest Of the season Inc ma
,ionalitv OF Nine Culp is Dutch; the
home of her at the land which knows
10 constant latitude or longitude but
whose language is loneliness, whose at
mosuhere IS charm and whose law IL
abiding beauty. Nine. CUP came we"
horalded. but not extrayassntly trpm-
peted. and the character Of the greeting
which the audience gave her disclosed
! that its judgment was held In allowance
II took her but a few minutes To win that
| Judgment I'm her favor. however and ne
fore she closed her recital she had estab-
lisfed place In tho hearts OF those VINO
| know how 10 apprase beautiful singing
which very few Of the other artists IN her
field will share with her
Nine. Culp disclosed herself yesterday
only a. singer 81 songs. and. indeed
somewhat too exclusively as singer OF
| the style Of sustained and ecstatIc lyricism
of which the finest specimens are to be
found I'm the works OF Schubert. Schu-
mann and Brahms.
Any other singer who would have dared
10 select such songs as Schuherts I'm
Abendroth." "Du Dist die Ruiz" and
| Ave Maria" schumann's "Intermezzo."
"Du hist vie cine Blume.' and "Mond-
nacht." and Brahms's thinner Lesser wird
meln schlummer." and "Feldeinsamkcit,
for a single afternoon Of song would have
run great danger OF woarying the pub
| lie with monotony Of mood But Nine
Culp aid this. and apparently with the
p,,rnose Of disclosing not only the beauty
NJ her voice hut the depth OF her senti-
mani andsthc finish Of her vocalZation
from n technical point Of view. The re-
naming songs. though they offered larger
/ opportunities for varied mood-expression.
reaching TO the iubilant ecstasy OF schu-
uonn's "Fruhlingsnacht." yet all called
FOR the cantable manner, and no OPP
nortunity was offered TO learn what the
singer is capable Of I'm tho way of tho
| noriJ STYLE. But so long as she will sing
nc she did Yesterday. adding to her
schomo n little wider range Of sentiment
and q greater variety OF expression. no
! one is likely 10 lonb lp' "'"' "'N f'''-
ularlv thought TO he feats OF "vocaliza-
tion."
There will. IT is much to he hoped. be,a
Number OF opportunities 10 discuss In de-
tail the characteristics Of Nine. CUPS
singing. For the present, after recording
tho fact that she raised the enthusiasm or
her listeners to the high pitch dor which
II might be wished that better express
SON might he found than persistent
domand for more), IL need only be said
that she has mezzo-soprano voice OF ex-
ouislte beauty, OF great mellowness and
such pure quality that she never need
Weld 10 the temptation 10 force II, being
told obviously by her artistic intelligence
and instinct that IL carries 10 the limits
Of a room like Carnegie Hall, even in
planissimo. Further that her breath con-
troll il almost perfect, 80 complete, In
deed that she gives herself no concern
when for the sake Of poetical interpreta-
,ion a musical phrase of extraordinary
! length is called for; that her command
| NJ vowel color seems absolutely inpecca-
ble and that with warm temperament
she knows how to keep passion in check
| with the reins OF aesthetic beauty. She Is
M, what the Germans call merely GER
ehral singer. nor Is she merely vocal
irstrumentalist: she is musical inter
nreter Of song. filed with love for the
! lyric art and wonderfully equipped to eX-
omnlifv Il. II. l.. N.