The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1914-02-15

ed an encore number. for which he
hose the familiar III Sing Thee
songs of Araby." This also pleased the
audience.
Then came Kubelik. Short, slender
and very dark. with black hair brushed,
ionS and straight. back from high
forehead. he stood stiiiiy and began TO
play IT was the Concerto No. OF
Vieuxtemps and from IL he drew with
strangely stifI seeming arm pyro-
technics most wonderful-but with lit
tie OF what we call feeling, sympathy
warmth. what-not. But II was an ex-
hioition or tremendous technic. and tho
mouse demanded more. For encore he
played Schumann's "Abendlied" with
muted strings. but this was not the sort
OF piece that displayed Kubelik, though
OF course he executed 1t with absolute
precision.
And Mclba entered-to sing the Mad
Scene from Lucia di Lamnermoor.-
with flute obligato by Marcel Moyse.
An ovation, and she swung into the
familiar strains that lead up TO that
crowning test of the lorId singer Gone
or dimmcd Is some Of the glory OF the
crisp staccato. the limpid trills and
inc ripping runs that used to make
the great singers performance Of thia
aria one OF the wonders OF the musical
world. and she did not attempt last
night the high Efat with which tho
aria Is usually concluded but there
remains great and beautiful lyric
voice. If she Is not capable OF the
astounding coloratura work that used
TO be tri1ing feat to her, she Is vet
n towering artist, though In more
limited field. She brcathcs with al
most unnotlccable ease: her low tones
are full and rich. and her middle voice
rings out with the roundness of meg
20 sopranos.
But this is beside the rnark-the
house went Wild over her. and for en-
core she sang the exquisite Down In
the Forest" by Ronald, think Later
she sang Mozart aria. III re Pastore."
with obiGato by KubelIk. and again
her low voice was delicious. In this
number Kubelik distinguished himself
by playing an obligato. not a solo. nnd
the Two OF Thorn. In response to the
thunder. sang together the Bach
Gounod Ave Maria" and made IT in
deed prayer. The "addio" from ia
Boheme" she did with great effect. and
with the skyrockets of Arditfs waltz
song. "Se Saran Rose" she fred RI.
audience anew. and had to sing Tostrs
'Good-by. Summer" Comm Through
the Rye" and finally, TO her own ac-
com pa niment. Tostrs "Mattinata," ded
icated to her. by the way. and there
fore her very fast tempo must be prom.
Kubelik played Dvorak's "Humor-
eske' with n novel zlther-liko tone
ana then he found himself and disclos-
ed himself In Wienawskrs Souvenir
ae MOSCOW No such technic as his
mas ever been heard In Richmond
Double stopping. triple-stopping, oc-
taVes trilled, even harmonics trilled
time and agaln-and he employed them
| with the same absolute certainty with
which he produced full tones-slide-
stopping, striking tho strings with the
DOW and playing pizzicato with the left
hand at the same time--lt was the most
amazing and Incredible exhibition OF
| sheer virtuosity that we have ever had
the good fortune to witness. And when
the audience raved. he responded with
n Carnival Russo" by the same COM
poser. In which he assembled to loftier
heights OF almost impossible technical
, achievement. But Mlscha Gilman pours
out more warm and ravishing beauty
or tone in phrase than Kubellk even
suggests In whole concerto. for ex-
cept for his playing of Bach's "Air for
the String" the Bohemian's music
left untouched every emotion save those
OF admiration and amazement
GABRIEL Lapierre's accomplishments
were sympathetic and artistic TO a high
degree. and Mr.. Burke delighted the
audience with his every number
Douglas Gordon.
The Stratford-t 'pon-Avon Players.
Having essayed and notably accom-
plished performances Of two plays that
lie dramatically as far apart on
contemporaries scroll as the poles OH
the carth-"Richard the Third" anu
Ihe Merry Wives of Windsor"-the
Stratford-U Upon Avon Players turned
their scholarly attention and histrionic
anii ty yesterday afternoon to tho pre-
sentation of drama that stands nj