Evening star., 1933-05-08
ME Russian dancers, Maria Yu-, 4
rteva and VecheSlay SWoboda-

ballet masters of the Chicago
Il CIVIC Opera were presented yes
terday afternon by the Interna.
tional Art Forum at the Carlton Hotel.
The program was shared by Lavinia
Darve, lyric soprano Of the Opera
Comique, Paris.
A fine interpretive instinct and ex-
cellent technical proficiency we're united
to a high degree in the work of these
two exponents Of the Russion school of
dancing, Nine. Yurieva and M. Swo-
boda have an expert facility for bring
ing into play facial expression and
body movements to a dramatic inter-
probation OF q musical idea. Seldom
does one f1nd 50 much said with such
economy Of gesture and with such f.
nesse Of execution that each move
ment takes on profound meaning and
a suggestion made with a Slight me-
chanical indication is aptly expressive
Of the thought behind 1t. To both
artists. dancing Is not merely the skill
ful use Of the body for display Of
grace but means whereby the mi
mute movement Of the eyes, hands or
feet have meaning of great individual
importance In the entire bodily inter-
probation. This was admirably illus
trated in the Polka, Period 1840" with
its coquettish story, and the Russian
folk song. which brought forth en-
thusiastfc applause and had to be re-
peated. A rich artistic sense was evi-
dent in all the dances and conveyed
more to the audience than a purely
visual pleasure IN a 1.-the technic. This
Is particularly SO Of the dancing of Mr..
Swoboda who carries out his ideas with
fire and freedom. Nine. Yurieva gave
an exhibition Of birdlike grace and
symetry OF movement in q solo dance
Fall" set to the music of a Chopin
"Etude." and was greeted with en-
thusiastic applause The dancers were
accompanied at the piano by Mat
Windsor who ably assisted them in
their interpretations.
Mime. Darve opened her program
with a first rendition in the United
States Of Lully's "Revenez, Amours,
Revenez." followed by Debussy'3
Green" Vidal's "Ariette" ana "stor-
nellata Marinata," by Cimara. Her
voice is an unusually fine textu-ed
lyric soprano, excelently schooled,
which she uses with freedom through
out its extensive range. A shading off
Of pitch at times marred the real
beauty of her tones which otherwise
were SO well produced that the reason
for this DETECTION from pitch was hard
to understand. Nine. Darve is an ex-
perienced singer as her interpretations
Of the arias, "Pleurez, pl mes yeux,"
from Massanet's lie Cid," and "Un
bel d." from Nine. Butterfly" proved.
At the same time she made no de-
partures from the traditional manner
OF interpreting them nor touched on a
deeper sentiment than what was to be
M Va for 1.s- l. -
regretted for Nine. Darve's voice could
thoughtful coloring which the senti-
ment. deep feeling on these arias de-
mand. She was further somewhat ham,
pered by the accompaniments fur
nlshed by Winifred A-taud at the piano.
At the insistence of the audience
Nine. Darve returned to sing the
"Gavotte," from Massenets "Manon."
A large and genuinely appreciative audi
ence applauded with sincere pleasure
the three artists.
THE Brahms centennial celebration
began yesterdays with a concert
-iven at Barker Hall by the Musicology
Club Of Washington in Cooperation
with the music department of the Y. w.
G. A. The program was divided be-
tween Brahms "Liebeslieder" and his
Variations on a Theme" by Josef
Haydn. The Covenant Quartet, com
posed Of Helen Howison, soprano: Richie
Mclean, <contralto; Charles Wilfred
Smith. tenor, and j. E. S. Kincella,
bass. sang the two groups of "Liebes-
l1eder and were accompanied by George
Wilson and Katherine Ellis at the piano.
La Sale Spier and Sade c. Styron
were at the two pianos for the "Varia-
TOPS"
In an Introductory talk, W. Oliver
Strunk spoke Of Brahms and his works.
He stressed the simplicity of character
OF Brahms and his aversion to giving
cut details of his life that might be
used for a Geographic purpose. He
contrasted his retiring disposition to
the desire for publicity which was a
dominant quality in Wagner and which
leo him to note down all material that
could be handed on to posterity. Mr..
Strunk gave synopsis of the works
OF Brahms and when they were written
and spoke of the fine balance of the
program to be presented, which offered
fed talent.
The quartet sang nine of the "Liebes-
neder, with three arranged for tenor
ana bass and soprano and alto duets.
The last of the group. Nos 6 to 9, show
Brahms in his happies mood, with the
freshness and geniality of his inspira-
ton finding full play. The quartet
sang them SO as to bring out their
spirit and with a sensitive regard for
the delicate nuances.
The Variations on a Theme" by
Hadyn, were played on two pianos. Mr..
Spier playing at the first and Miss
Styron at the second, and were followed
by continuance of the remaining nine
of the "Liebeslieder."
\ MIDWAY r.