El Paso herald. (El Paso, Tex.) 1901-1931, 1920-09-22

A n AUDIENCE a good deal more
a enthusiastic than numerous
greeted Ada Eavarrete Tuesday
evening at the Crawford. and heard
some Beautiful singing brought forth
under adverse circumstance Many
Of the music lovers Of the city who
were unable to attend Tuesday on &C
count OF other engagements VIII un-
dOubtedly seize the opportunity Of the
second and final concert 20 hear this
young woman Of exceptional artistic
endowment who has won the praise
Of the most discriminating critics IN
all the North American musical cen
ters-
NevA- vas the imperative need OF a
suitable downtown concert hail more
snnoyingly demonstrated than at this
concert, with double header freight
trains and thunderous bell-clanging
locomotives running IN and out the
house and around the stage every
three minutes and trolley gougs IN
ing in the intervals, while a girl a
ardent desire to please TO the ut
most her Fl Paso friends was trying
10 give her music the voice and in
depreciation IL deserved Aside from
the constant noise outside. the ar
ranEement OF the house does not lend
itself 70 intimate artistic expression
and the distractions are distressing
70 the audience and doubly so to any
artist sensitive 70 environment
But Ada NavaT-ete soon overcame
her first timidiry and rose above the
annoyances that could not be helped,
and before she was half through her
program she had won the hearts Of
the audience and established that
response between singer and auditors
that makes for the enjoyment Of both
and gives life TO the song.
The first few numbers were uarred
by the voice Of the prompter. whose
efforts were supernuous since the
singer knew the words perfectly and
the unfortunate effect was only due
70 following the custom OF opera but
it caused immediate and rather caus-
tic criticism in the audience. The
singer soon corrected the error for
herself by moving across the stage
like the harsh Interference with her
music There was no more Of IL the
rest Of the evening and the audience.
perfectly good natured, quickly forgot
its grievance though Il had missed the
pretty Carmen aria entirely and was
quite upset for a while
The improvised orchestra, too. was
ct first somewhat out OF control II
played 100 loud The piano was too
dominant, and the VIOLIN when it
played in unison with the voice,
spoiled the timbre OF the vocal tone
anu AAAAAlaNE4 AllE singer UNFAIR o.
She must have felt this too, and at
first she was a bit submerged But
a word 10 the orchestra was duly
needed. the accompanlments quieted
down, and things went smoothly after
that
It VIII be better next time. But It
Is TO be hoped that the orchestra.
especially the piano and victims, VIII
recollect every moment that this Is
not an opera performance but a con-
cert. with one singer on the stage
whose voice the people in the house
have come to hear and enjoy. The
Instrumental parts are necessary 70
comprehension OF the music and to
balance and harmony, but they should
at all times be held IN rigid subordi-
nation to the solo voice. When this IS
not done, the audience unconsciously
sighted Let the players hold down
during the singing parts. to the most
subdued tone that viii develop the
harmonies Of the score without try
ing TO take charge OF the entertain
ment, and Il viii all 80 better.
And let the unnecessary prompting
be eliminated, and restrain the violin
TO the merest hint OF a tone whenever
the violin score runs In unison with
the voice, otherwise the effect is
spoiled
The audience was exceedingly
tolerant Of the distractions. and was
friendly from the first and warmly
demonstrative after several numbers.
These things are mentioned here
solely with a view 20 bringing about
the needed Improvement at the second
concert, for It Is not fair 10 the