The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-05-10

uONh, the cropping was 80 uetknuui
and soothing that the auditor expert
enced the erect which must follow the
result Of dwelling for moment in
eiyseum to awake suddenly in the land
of Parnassus.
A spite sailing down from the
sparkling waters of the spring at the
top of the mountain, hears the song of
the hooking bird, and tho nightingale
and the music OF the babbiing brook
awakens him to the delights Of the
cool, calm morning breeze as the lark
scars ahtgh and MARBLES TO ths sun.
Such was the concert last night.
brilliant Beginning.
from the beginning. when the
Metropolitan Opera House Orchestra,
under the magic wand OF Richard
| Hageman. started Jules Massanets
bling brook music, and it's sweet
! breathings under the weeping willow
trees. as II sped on toward the roar
/ ing song of tho surf, to the close there
was thas enhancing melody.
Whoever arranged the program.
was master Of his art. The theme
was never lost. There was nothing
stormy. until the little brook reached
/ the ocean, and that was to have been
/ expected. Even at that there was no
storm. No thunder and lightning. lust
( the song Of the waves as they beat
against the shore.
| But there were songs OF love, aud
! there were patriotic airs. and music
1 Of the Master, which brought thrills
| to the bosom of the audience, and
rounds of appreciative applause from
| them as the notes died out into the
/ calm OF the pretty spring night.
AS has been said, aside from the
! famous stars of the evening. the Wed
1 nesday Club chorus, assisted by
/ Joseph Whittemore, a tenor. probably
/ equal to almost any in the country
I presented "big league" card.
/ Mendelsshon's little oratorio, Come.
Let Is Sing" was the instrurAeat. 1t
proved satisfactory ono. Mr.. White
more thrilled the audience with his
solo work, while the chorus. perfect
ly trained, proved equally as effective
in creating the thrills which creep
over every real lover OF music.
{ Come, Let rs Sing" Is q psalm of
I praise to the Lord. set to beautiful
/ music by the great master.
Magnetic Madame Culp.
Madame CUP sang next. And she sang.
/ So magnetic was her personality; so
enhancing her voice; so perfect her
polse and her handling of the subjects
! Of her songs, that she was forced to
respond repeatedly to the plaudits of
! the multitude before her.
Madame Cups style Is different. It
is not in line with many of the con-
cert singers 1t IL dramatic. Even
in her Interpretation of the pretty
folk lore songs and tho German ball
lads, her natural instinct raises her
boYe~ the average artistic. She feel
her words and her music, Her soul
I goes through the prelude an the in
terlude, and as a result the audience
breaks forth In rapturous apprecia-
/ ton or her work.
Last night she had to sing several
additional selections. Her first num-
Der was probably the best. 1t en-
braced a series of German songs, placed
in proper sequence-"Dreudvol and
LeidyoB." by Beethoven. representing
i the yearning heart; Die Trommel
'F.5feruhret." also by Beethoven. repre-
sentinR anticipation, and "Morgen," by
Strauss, representing realization.
This series was followed by two roll
licking ballads-"IVe Been Roaming
Where the Heather Blooms Sweet and
Lorna Dooue."
The second number embraced three
: serious songs. winding up with Ave
/ Maria" These selections showed the
splcndidly modulated voice OF the
: great singer.
Great Pianist.
: Georgia Copeland proved that piano
music can carry audiences along with
IT, lie had little trouble In doing thar
TT ~e+e-fsaay psant,
players In the audience. They under
! stood his every movement. They knew
that when he played ''Sonita Tragiea,"
hy Mcdowell, he had the right move
, rents and tie perfect touch. The nom
: piano players, however, who knew
| nothing Of movement. felt the power
} of the, music They paid little atten-
t!on to the player or to his movement.
All thty fnlt tho fact that tho
music produced by the player with his
: ruovctnant touched them. They knew
s there was something close to them that
! tineled as the little sprite in Peter
! PAN" and they were hypnotized. They
were so much affected by the wonder
/ tul playing that 1t was hard for Mr..
/ Copeland 10 get away from the piano.
Iio added Chopin's "Etude" to his FRS.
number, and then some.
And when he appeared for his sec
I ond number ne added pretty Spanish
selection and a French number. and
! was forced to add more to that before
, the audience would permit him to
. make his final bow. The second num-
= yer embraced, besides the encorea.
tJgux fHtsvs poetic and Danse Espag-
MOLE by Granados They received
rapturous applause,
1 Orchestra shines Brightly.
Shining brilliantly amid all this
stood the orchestra.
Perhaps the most popular selection
WAS the "Rhapsodie Espana." by Cha
! bricr fantastic melody of catchy
Spanish dance music Another selec-
tion. which was given In six parts, and
which was received with great marks
or satisfaction, was ballet suite from
I'll cid" by Massenet,
The entire program was pleasing. 1t
embraced music from many climes--
from France. Germany, Spain, England
and Scotland. with France and Ger
many prevailing.
1t should be borne in mind that the
concert begins promptly at 8 80 o'clock