The Washington times., 1920-02-02
T0lETTES AND ARTISTS
ADD LUSTER TO CONCERT
Toschz Seidel and Nine. D'Aiysrez
Greeted By Audience In
Charming Costumes.

The third Concert DiplomatIque At
the BelAsco Thester last evening pre-
sented two artists who won immediate
favor. and also an audience whose
brilliant toilettes gave effectiveness
TO the occasion. for II is seldom that
Washington can have the formal
touch or charming costuming at a
the afternoon for music in the Capital
city.
Toscha Seidel. youthful. yet master
violinist. and Nine. D'Alvsrez. Peru
vian contralto and superb dramatic
artist, gave a delightful program In
their Joint recital. with an artist at
the piano, Harry Kaufman, who is one
or the most gifted accompanies tlAt
have come TO us in recent days.
IL WAS truly an ovation for the
young Russian, roscha Soidel. five
encores were demanded OF him, three
at the close Of his program. His art
II that OF the virtuoso 10 whom tech
nicsl difficulties seem a JOY; but there
H. a wealth OF depth in his music, IN
tie tone lie draws from his violin,
that thrills with its vibrant and IN
tense meaning. Al the moment IL
seems to be Seidel who Is best htted'
by tho character or his art, TO sue
ceed to the place now held by fritz
Kreisier.
Sounds Heart-Nste.
And IL was Kreisler who arranged
the PsderewslSi "Minuet" that 80 de-
lighted the audience that Mr.. Sedel
had 10 repeat IL. How much OF life.
Of temperamontal feeling and color
Is In this lad! His interpretations are
spirited, ever virilc, and with that
Russian feeling for melody that
sounds the hesrt-note in its wall, It's
sadness. and It's beauty Such wsb
the Chopin "Nocturne," with it's rare
double stops--those accurate and rich
hsrmonies. The Tartini Sonata was
given the full value OF this exquisite
composition. with color. depth. and
impressiveness in all its yirtuosity,
and All exquisite melody in the final
thrcc-four rhythm. For virtuosity
and gypsy spirit, with a spark Of the
whimsical in ease of delivery, the
Hungarian Dance OF Brahms and the
"Zapateado" OF Ssrssste stood
forth. As cncores, with recall after
recall, Seidel played with great
charm the Gossec "Gavotte.' tho
Turkish March" from the Ruins OF
Athens" BY Beethoven; ''Schonros-
marin" of kreisler and the GYPSY
Airs OF Sarasate. sparkling with
harmonics, with brayura passages Of
every vioiinistic intTcacy.
Genuine ContraIto.
Nine. D'Alvsrez comes as a
stranger. She leaves behind the mem
ory of mighty voice and vibrant
tragic personality, of intense dra-
matte feeling and understanding in
her music. A genuine contrslto. Nine
D'Alvarez holds always the intensity
Of Mascsgnrs "Cavalleria." Her Air
dc Liza" OF Debussy, and the Gransdos
La Maja DoIoross" were revelations
Of this dramatic power in a voice
that rose to great heights and
breadth of vocal expression. Ten
derncss there Is also, as shown in the
song in English, "Homing." by del
RicEo, art in the color of her song
Dramas" but with all its wealth. the
aria from Samson and Daliia, Mon
Occur" was overweiGhted with
heaviness, was throaty.
The three Spanish songs at the
close were filled with this dramatic
temperament Of the south, filled with
syncopation and strangeness that
this singer brings from her native
land. Seldom do we hear so rich
voice, with velvet vibrancy. 1t is
ever tragic, il is broadly dramatic,
and memorable in its richness.
At the piano, Harry Kaufman was
a rare interpreter, whose tone and
feeling made him one of the few
violin accompanies. who give some
thing individual even while entirely
sympathetic with the soloist
j. MacB.