The daily star-mirror. (Moscow, Idaho) 1911-1939, 1922-10-26
MADAME CLAUSSEN
CAPTIVATES CROWD
TAKES HEARERS THROUGH VAR
IOUS EMOTIONAL EXPER-
FENCES

Mdudm0 julia ClduSSen m6ZZO-SO-
prano of the Metropolitan Opera
House, gave the first concert last
night on the Artists Recital Course
presented by Professor E. O. Bangs
of the music department at the uni
versity. The capacity audience must
have been as gratifying to the man
agement as it's good will was to the
singer who captivated her hearers at
her first appearance and thereafter
led them through various and varied
emotional experiences from the ingen-
ious ardor of the Mexican folk song
to the awful tragdy Of the Erlkonig.
After one had managed to reconcile
the hearing of a perfect Brunnhilde
utter the fatuous love phrases OF ne
Gothe-Themos Frederick, he was able
to settle back in his seat and enjoy
voice of saga-like proportions. 1t is
capable of all shades of expression but
is especially suited for the more dra-
matte and more impassioned type of
vocal utterance.
Highly Dramatic Singer
This was felt as she began her
French group, singing Chere Mutt with
fervor as left little doubt in the minds
of the hearer as to what it was all
about, should he not understand
French. Raley's Tes Yeux was done
delicately enough to contrast with The
preceding number and to form
suitable link over to the subdued
Plaisir dAmour. The group closed
with the Massenet Ouvre Tes Yeux
Bleus done with due appreciation.
The encore was By the Waters of
Minnetonka. In this little Indian love
song Madame Claussen did some Of
her LOWEST singing.
The second group opened with two
Sjogren songs, sung in and original
language, but for these the singer gave
a charming and original translation,
complimenting her audience that they
could understand French and German,
if not Spanish, or maybe it was Nor
wegian. The first of these, In the
Sultan's Garden, was an entire orien-
tai scene in itself All the nice de-
tails that go to create atmosphere
were there, and all the niceties Of
singing, too, which keep that atmos-
phere from being destroyed. Madame
Claussen's Interpretation Of Brahms
Sapphire Ode was characterized by
genuinely classic restraint and purity
of expression. Perhaps her greatest
success was the Erlkonig with which
the second group closed.
ErlkOnig Best Number.
Madame Claussen is an opera singer
and as such she would appreciate all
the dramatic possibilities Of the
Schubert song. The Sapprie Ode and
Spring Night may be lieder, but Erl-
konig is a dramatic scene. Everyone
of the three characters was individual
lied, the spirit with not so much of
the supernatural as might be desired
and each spoke through the
singer.
Madame Claussen's diction is excel
lent. of if slightly marked by traces
Of foreign origin only enough TO be
more piquant. The songs in English
we're not very unusual but they were
done with feeling and they were en-
joyed by the audience. The program
closed with the Russian Snow Song. |
having the always to be expected "yip'
in the end and with the audience in
too much of hurry to put on her"
hat. Two encores followed in spite
of this latter interruption.
Miss Augusta Gentsch ACCOMPANIED |
IN an entirely satisfactory manner. In !
such numbers as Erlkonig and the !
Russian Snow Song the pianist was
more than support Miss Cen sch |
came up to the demands OF these |
songs and was entitled to bow with the |
artist, who therein showed she was
Is generous of nature as of voice.