New-York tribune., 1922-11-19
C.alye Charms
Hearers With
Fresh v oice
Real Demonstration Given
Pri.,aa Donna When She
Sings Spanish Numbers
Wearing Usual Ma,ltiIla
Still Stirs Her Audiences
Damrosch Repeats Animal
Burlesque by Saint-Saens
at I'd Children's Concert

All the arts of the experienced prima
donna, with those Enthusiastically
her own. were employed by Nine. Calve
at her. recital in Aeolian Hall yester-
day afternoon, in a combination of
singing, expression and gesture that
brought out the maximum Of feeling
in each number without distorting it
in. striving for dramatic effect. She
was less successful, however, from a
strictly vocal standpoint. in her first
numbers than later on; Handel's "Arie
| de Cleopatra" and Cesar Franck's
"Nocturne," with their sustained notes,
seemed so tax her voice and cause a
labored effect, while in the two Gret-
chaninoff numbers Nine. Caive did not
as yet seem entirely at home in the
English language, although "My Native
Land" proved fine piece of vocal
defamation.
But from this point Nine. Calve was
/ in better and better voice, and the
| The rest of the program was largely
| in French, including a Mozart aria,
modern French and translated Russian
numbers; Bizet's "Serenade" showed
| remarkable freshness of voice, espe-
! cially in the softer high notes, while
resonant low ones appeared in "Mort
1 du Cosaque," by the Polish composer,
| Moniuwsko. Her contrasts of loud and
soft, light, and shade were always ef-
| fective.
| The real demonstration, however, ap-
| peared when Nine Calve appeared with
| the traditional mantilla and flower to
| sing Spanish numbers, De Falla's "Se-
| guedilla" In French and others by Al
| varez in the original. Here her voice
grew get clearer and stronger, her man
ner still more animated; at one time
almost dance, while the large audi
| ence clamored for and received extra
| numbers. There was no doubt she could
| still interest and excite her hearers.
| Yvonpe Dienne,. the accompanist,
played a. group of her own, showing
technical ability, but a rather heavy
hand in Bach, Chopin and Albeniz.
Children and their attendant elders
filled every seatein the morning at the
New York symphony's first concert in
| this series of the season, the sixth of
| the Children's : Concerts. Here Mr.
Damrosch welcomed his youthful audi
ence with the william Tell" overture,
| part of Baeh's B minor suite for flute
and orchestra, Delibes' Pizzicati, and
| it's third performance-the "Carnaval
| des Animauxi' which now might be con-
! sidered to have run the gamut of the
| generations. Apart from the omission
| of the "wild asses" and fossilized
tunes, it was played. October 20, with
Messrs. Damrosch and Names at the
pianos and Mr.. Pollain conducting. MS
| Damrosch, in cheerful vein, adorned
the whole with introductory remarks,
with a dubious pun OH the sweetness ot
! the Bach suite. tE - .1s
| The best part Of the concert, from
| an artistic standpoint. was, Mr., Bar.
rere's performance as soleist in this
| suite; TO call his playing, following
Mr. Dan1rosch, the most beautiful in
| the world would be rather sweeping
but the fluent beauty and warmth OF
his tone were delightful. "And now,
| said Mr.a Damrosch, 1--WE will enter q
and the 'Saint-Saens circus began
Laughter was invited and gained, es-
pecially in the more burlesque sec
tions, but Mr.. Schmit's cello solo il
''The Swan" where burlesque yields tc
music, was deservedly applauded. II
was well-behaved and apparently
pleased audience,
In the evening Gita Glaze, Russian
soprano, said to have sung in opera al
Petrograd and Moscow, also drew {
/ large audience to Aeolian Hall with q
program of German arias of Beethoven
! and Mozart Zone by the latter il
i ftalian), Schubert and Schuman lieder
/ modern English and American pieces
land Russian songs. She had u strong
voice with piercing high notes, some
times marred by trsmolo and an occa-
sional metallic timbre, but effective
/ for instance, in Balakirev's Georgian
Song. Her lower and softer notes. how
! ever. seemed better. While they had 6
tcertain cloudy quality they were smooth
! and flowed agreeably in the plaintive
| Russian numbers. Emil Polak was the