The Birmingham age-herald., 1923-10-13
AIDA -HACKETTl DELIGHT HEARERS AT PHILLIPS HIGH
Soprano In Excellent Voice. Tenor Is Pleasing Surprise
 to Birmingham

Madame Frances Aida, soprano. and Charles Hackett, tenor, opened | the Birmingham musical season at the Phillips High school auditorium Friday night, under the auspices ot the An-Star Concerts. The concert was beautiful and thoroughly en-
 Madame Aida was beautifully gowned in a glittering creation from Paris, which set off her particular type to advantage. Her voice Is recognized as one of unusual quail ties and has won fame for her. It is flexible, musical and she has 1t In perfect control. Her personality when singing Is indeed charming, but frequently she seems a bit an- noyed, too much temperament, per haps.
 MT. Hackett is now on the tidal wave of success, and his singing Frl- day night explains his rise to fame. His voice is tender, powerful, con- trolled and rich. He is fond of sing ing in English. His singing in this language proved very popular in Barcelona, where the Spaniards called again and again for his English songs. He has recently returned from a tour in Europe, where he was acclaimed. He was the first American tenor to sing by royal command be- fore the king and his court. He is intelligent and has pleasing per sonality.
 Hatckett's opening number. Star Vieino," (Rose), was received with enthusiastic applause. It was well adapted to his splendid tenor. This was followed by Handel's "Care Selve," which was beautifully sung. Two compositions of the famous Rus sian composer, Rachmaninoff, drew more than their measure of applause. They were How Fair This Spot" and "Un Fragment d'Alfred Musset."
 Madame Aida was first heard in "A Christmas Carol (fifteenth cen tury) Arr. by Bax. She sang with ond number, "Amarill" Caccini, de- lighted her hearers. This was follow ed by "Quelle Souffrance" Genor- mand,) "The Soldiers Bride" (Rach- maninoff), was one of the most en- joyable of her first numbers. This composition is typical of the music of the great artist who composed it, and won the applause it merited. An effective number by Fourdrain "Chanson Norveginne" was encored.
 Mr. Hackett's operatic air, "Ah! Leve Toi Soliel' (Gounod) afforod him an opportunity to display his dramatic talent and the richness of his voice Madame Aldas "Mefisto- feles" (Boito}, was rendered with the skill of a finished artist
 Four delightful little numbers were "Chanson du Fou," "Le Bachelier de Salamanque," "The Fuchsia Tree and Cutters Morning Song" giv- ing MT. Hackett full opportunity to show his artistic powers.
 Madam Aida sang group of songs, including two written for and dedi- cated to her. which won her audi ence even more, though they had been brought to most receptive T sf Co Is-,s Some Day He'll Come" from Madame Butterfly and the Last Rose of Summer" encore numbers. Miss Margaret Hughes, Alda's pianist, was effective in her playing of the ac- compartment of Soft Footed Snow," Wings of Night" "Faltering Dusk, " "The Singer" and "The Song of the Open" were well received
 The two artists concluded the con- cert In appropriate style. saring the honors enthusiastically accorded the appearance of both, when they sang duet number from Madam Butterfly" the last notes being drowned in q wave of applause.
 Aida and Hackett will be remem- bered in Birmingham for one fea- ture of their recital at least-their willingness to respond to encores. The soprano returned six times, the last appearance prompting her tp send her pianist back to the stage and play her own accompaniment to "Swanee River" Hackett's singing of "The Lights of Duna," a favorite in Birmingham, made that his most appreciated encore.
 Solon Alberti, pianist for MT. Hac- kett, gave a finished performance. Miss Hughes, Alda's accompanist, seemed nervous because of her artists attitude, but proved to be de- lightful, despite this handicap. Both artists were careful to continue the impression that their accompanists were much like mechanisms, neces- sary, but not to be noticed a great deal