Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-02-11
ORPHEUS AND EURYDICE
SINGERS IN JOINT CONCERT
Variety and Charm Features of ANA
teurs' Program

There was nothing amateur about the
singing of the Orpheus Club and Eurydice
Chorus at the Academy of Music except
the spirit which gave 1t purpose originally
and anew animated il last night The kim
dred organizations, composed respective
ly of men and women prominent in the
main in what is known as society, signal
lied their annual mdwinter combined
concert, as celebration of the 30th an
niyersary of the Eurydice Chorus. The
Orpheus Club is nearly half a century
old. Both societies have very definite ira
ditions, outgrowng from adherence to the
amateur spirit through several decades.
One of them is that no attempt shall he
made to make financial profit by the con-
certs; In fact, they are so little CONNER
cial in inclination that no effort is made
even to cover expenses
A very large and ultra fashionable au-
dience accepted the invitation to be the
combined clubs guests at the midwinter
concert. The Academy doors opened at
. 7:15, full hour before Conductor Arthur
d. Woodruff raised his baton, but before
the stroke of the family circle was
the only place left for late comers. The
asthmatiC had to turn home, but enough
people stayed to make the third floor
bloom as brilliantly as the parquet at
the opera. The creation" worn by the
ladies were in colorful contrast to the
sombre hue of the conventional evening
dress of the men.
The results accomplished in the pro-
gram were decided tribute to what may
be achieved by earnest effort well directed.
The 40 voices, combined by uniting the
vocal capacities of the so women and 60
men, blended very smoothly in Sir Arthur
Sullivans setting of Anne Adelaide Proc
ter's THE Lost Chord" Leslies Lullaby
of Life" and Hail Bright Abode" from
"Tannhaeuser." Something of genuine
dramatic quality was in the Wagner ex-
cerpt. while the spirit of quiet meditation
was nicely attained in the sullivan music.
The very lovely quality of the women's
voices was revealed in Smiths musical
melodrama based on Mrs. Browning's THE
Great God Pam and to this Viola Brod-
beck contributed solo passages, in which
the coloratura was given with high tech
ncal proficiency. Her voice Wed with the
oboe, appropriately introduced by the COM
poser to simulate the reed by the river
of the poet and played with marvellous
facility by Marcel Tabateau, the new and
accomplished member of the Philadelphia
Orchestra's woodwind choir Susanna
Dercum's voluminous and well-managed
contralto gave the solo portions of Har-
ris' Morning" which had to be repeated.
The variegated nature of the first part
Of the program had an attractive feature
in the familiar "Pagliacci" prologue, sung
by George Pownall Orr. a baritone MEM
ber of the Orpheus Club whose voice is
rounded and full and of extraordinary
sweetness. He did not repeat the Leon
cayallo number when an encore was
sential. but gave The Creole Love Song
so well that it had to be, perforce, re-
peated. Daniel Donovan, also a club mem
ber sang ably in a robust tenor the solo
part of Schultz's Forest Harps." in which
the Orpheus Clubs ability in part singing
was capitally demonstrated
Mr. woodruff had his forces well In
hand and conducted with a quick firm
beat. 10 which they responded unfalterng-
Iy with prompt attack and cessation of
tone Both in volume and shading the
two clubs, singly and together, covered
themselves with distinction