The broad ax., 1918-06-22
MADAME N. CAILAwAY-BYRoN
AT AUDITORIUM
CAPTIvATEs AUDIENCE BY SING.
ING SONGS OF HIGHEST CLASS.
Brief Review by Attorney J. Gray
Lucas from Extended Review
to Be In NEXT Issue.
Madam n. CaIlaway-Byron.

Madam N. CaIlavay-Byron-
And now for the diva, prima donna,
indeed Madame Byron has been COM
ing ever since she sang her way around
the world, literally. But what distance
from her earlier triumphs and now, in
achievement. Recognized on the Con-
tinsnt; France, Germany, Austria and
France as far above the music hall sing
ers of the best, the equal of Gadski as q
dramatic soprano, wagnerian or the
latsr italian school to which belong
Vsrdf,s OtelIo, as well as his Aida. Alasl
her color, not too much; but enoughi
As said the dying yet comic Mercutio,
fNot 90 deep as as q well; but it is
snoaghP Enough to keep her from
her owuby right Of conquest of the art
Of song From the lyric La Traviata of
Verdi, to his dramatic Aida, she can
make thsEOeal voyage by an easy trans
fer of vocal art-from the italian to the
Gerninssehool; for she has the stento-
rim German declamatory school at
brain and vocal organ, as well as the
Italian bel cauto. A mistress of her
art, she sang the aria "Louise DE
Pgis lie jour-a song of the transport
and delight Of love, charming in senti-
ment and song. And how the madam
did revel in its beauties with a voice
ravishingly sweet and tender, easily de-
ivered, as q bird MARBLES, from sheer
love of life and its beauties, enhanced
by love.
For 50 large q space, Carpenter g
Louise" has seldom been the recipient
of such rendition-never, it is believed
in the Auditorium However, 1t is
best suited to q smaller hall, for in the
hands of less skiIlful soprano, many of
its soft nuanees might be lost. It is
song requiring lyric quality and sus-
tanned high tones; it likes the clouds,
and, like the eagle, only deseends toward
the end-when about to aight.
The diva may be pardoned for choos-
ing the two numbers which she did. Her
second number is almost the diametrical
opposite from the one above mentioned.
The aria, "RitOrna Vincitor, (" however,
was the one vocal number in artistic
keeping with the occasion; a concert to
the families of "our Soldier boys,
here and "oyer there" These songs
gave one the opportunity of discover
ing her versatility and vocal ability.
1t is said that her transportation here
reached high @, which long sustained,
she kept CONTAIN even keel" to the
end. The beauty of her voice never
failing, nor the tsne tagging, in q dOu-
bic forte ripple, akin to, but not yet, q
trilL This, when Aida adjures her lover
to scatter the armies Of her Ethiopian
father, who is its king, and she a cap
tive-slaye in q foreign land-Egypt,
when she remembers her beloved eoun:
try and father.
Verdi, Of all the writers of opera, de-
lighted in COlored subjects as hero and
heroine. Aida and otello-taken from
shakespeare's othellO-is black Moor
Of Northern Africa. Aida Is black
princess from Ethiopia The La Ira
viata is COlored Dumas Camille, set to
music; Aeysrbeeri L,Afrieaine Is an
other, in which the heroine is black
person, "sslika-" The Negro should
know what swath he cuts, a. sub
Jet, in the operate vorld-and there