Evening star., 1926-03-21
M u
FRIEDA HEMPEL'S RECITAL.

Frieda Hempel, who has become
world famous for her charming
Jenny Lind recitals," gave the latest
redition Of that delightful entertain
ment at the Washington Auditorium
last night, where a large audience
greeted her and her assistants en-
Enthusiastically.
1t has been two years since the
gracious German coloratura has sung
in Washington. Many singers have
appeared here in the interim, yet none
has possessed more fully the complete
art Of the exquisite singer. More
over, Nine. HempeI enters whole
heartedly into her character Of Jenny
Lind. singing even the familiar
Dixie" (Which aroused storms of ap-
plause last night with the quaint
mannerisms of the Swedish night
ingale." This was also noticeably
true in her presentation of the Nor
wegian Echo Song. Her manner of
accepting flowers and applause, of
both of which there was abundance,
was delightful.
Several changes were made in the
program as printed and not a little
confusion was caused by the inability
on the part of the major portion of
the audience to hear the substitu-
tions announced. However the num-
bers substituted were equally as fine
as those omitted. Instead of the Scar
latti "Pastorale," Mr.. Erno Balogh,
an ideal accompanist and a talented
pianist, played Beethoven's Turkish
March" as the opening number, and
played it delightfully."-.
Then Nine. Hempel Gang Haydn's
"My Mother Bids Me Bind My Hair, -
followed by "Voi Che Sapete" from
MoZart's Marriage of Figaro" both
with clear enunciation and attention
to artistic shading of tone that is a
characteristic of this soprano. AS an
encore, she gave a whimsical Ger.
man folk song. THE Cuckoo Clock" ;"
The famous Shadow Song" from
Meyerbeer's "Dinorah,'' followed
with another German folk song" Zu
Laub Bemacht" and Dixie" as the
encores.
Mr.. Balogh then played two Chopin
numbers. a waltz and the "Etude in G
fiat MAJOR with a Glazounow Ca
vote" as the encore. Both style and
coloring Of these numbers We're adj
mirable.
Then Nine. Hempel returned to her
program and presented German lieder
as only a native singer can give it.
Her singing of Schubert's 'AL,
Maria" was exquisite, and the same
composers THE Trout was equally
fine in it's Interpretation and in The
excellence Of the German diction.
Der Nussbaum,' on the other hand
| was sung in English very well.
1t is, indeed, a subject of added
praise for Frieda Hempel that she has
| the good taste to give fine English
| translations to so many of her songs.
THE Nut Tree" was n splendid eX-
ample Of what can be done with the
translation of foreign lyrics. Follow.
| ing the Norwegian Echo Song, the
encores were an old English song
| I'D Be Butterfly" and the inevitable
Last Rose of Summer" from
Martha"
Louis P. Fritze gave two solos that
| were presented with the skill that
makes the difficult seem supremely
easy. He played Boehm's "Andante
Pastorale" and Beethoven's "Minuet
in G." with Caprice Waltz" by
Pilzer, as the encore.
Nine. Hempel carried her audience
| with her in the English Interpretation
Of Mendelssohn's "On Wings Of Song
| and won f1attering attention in her
| really lovely coloratura work in the
cadenzas of Taubert's bird Song,
| sung without the little black book
and gaining much in freedom and
power of effect thereby. A hint OF
the season was given in the seven
teenth century Easter hymn. "Alle
luia," and "Home, Sweet Home" was
sung as only Frieda Hempei can sing
it. An old French folk song. "Coucou
Cauari Joleux," Strauss blue Danube