Richmond times-dispatch. [volume] (Richmond, Va.) 1914-current, 1915-04-14

matter how he listen to 1t. whom 1t Is
| played as Mr.. Stokowski played 1t yes
/ tcrdny, 1t is 80 great Il thing that he
| can only listen to 1t and remember it.
not talk about 1t.
Such violin choir. to descend or
assemble practically. as that OF
| the Philadelphia Orchestra has never
been heard here in my day. Yet,
remembering that terrific recurrcnt
passage for tho 'cellos I'm the second
movement Of the Beethoven symphony
and their performance of It: recalling
the wonderful flute trio in Ncrdi's RE
duiem." and thrilled again by tho rec
objection of the swelling. crashing,
overwhelming climaNcs. of which every
choir and battery formed part of the
mighty whole. why should the violins
bc singled out?
1t is simply Il superb orchestra, and
that it is most likely that 1t will return
next season under Mr.. Stokowski is
good hearing.
MIS-; LARRABEIG'S PERFORMANCES
- N;RiTABLE TRIUMPH
Miss Larrabce's performances OF Ru-
| binstein's Concerto in resulted In n
Ncritable triumph for her. Very young
very modest and altogether Unaffected
she IS yet very much an artist. She
plays with tho utmost deiicacy. care
fully avoiding the wrctched effect Of
pounding: her sense OF rhythm Is keen
and. apparently, faultlcss. and In the
second movement she proved her mas
terry OF the singing tone. And. though
she exhibited these qualities and play
cd. as well, with admirable restraint
she has abundant dynamic control At
the close OF the first movement she
progressed through long clause OF
constantly increasing tempo and cor
responding volume with we'll Judged
steadness. until she reached n climax
OF amazing strength.
There Is every reason to believe that
La for h.
cert stage. And yesterday she aroused
the audience to the key OF enthusiasm
Led by Mr.. Stokowski-another reason
for admiring him-and aided by the or
chestra. the house Numbered it's ap-
prevail After both the first and second
movements. she was compelled to stand
and bow. while huge baskets OF flowers
were handed up to her by ushors. and
Mt the end OF tho Concerto she received
literal ovation. Time and again she
came out and bowed, while Mr. Stokow-
SKI put down his tapping baton and
capped his hands and the house rose
at her. But she wisely would not play
again.
GOG0RZA AGAIN PROVES
HIMSELF A MASTERSISGER
Mr.. de Gogorza returned after an
absence of n number of years and, by
his splendid singing Of an aria from
Gluck's '1phigcn!c en- Tauride. Scin-
dia's aria from Masscnets lie Roi de
Lahore" and the Largo al Factotum"
from The Barber OF Seville" showed
himself again. or st!ll, 10 be master
singer indeed. In some respects, in
deed, he is a finer artist than he was
during the years when the club knew
him better, in manner of speaking.
His voice is as beautiful. but his art
Is broader.
Companions must inevitably be made.
Gogorza hasn't the almost iimitless
power that Amato possesses his voice
is not as great merely as a voice. Nor
has he the brilliancy Of tone that marks
Amato's voice and that makes his upper
register so like a dramatic tenor's. on
the other hand losing this brilliancy, he
is free from the vibrato common TO the
Italian school. and there is more Of
what is commonly known as mellow
ness throughout his voice. Again, his
voice Is so flexible that he was able to
sing certain portions of the Massenet
aria in manner that Amato has never
attcmp ted-ccrtainly, never attempted
here. With the single exception OF
Bspham. no other low-voiccd man Of
his vocal stature has ever done soft
work SO artistically as Gogorza did yes
terday. Summing up. briefly and in
completely, Gogorza relies more upon
his art; Amato upon his voice.