Evening star., 1934-01-18

Nine. NOrena, formed an enSembl
One cannot feel that the program
was judiciously chosen or that the
artists did justice to themselves or the
audience; There are many other Sc
lections than the ones given yesterday
for each instrument that could reveal
the finer capabilities of the artists and
the public likewise would have enjoyed
more varied and representative num-
beTS There are SO few occasions when
thee instruments. whose very names
arouse interest, can be heard on recital
programs that it is pity that greater
idea could not have been gained OF
their artistic compass.
Nine Norena was the outstanding
artist of yesterday by reason Of the
many enthusiastic reports Of her past
successes. Coming with a long-eStab-
liShed European career behind her and
now a member of the Metropolitan
Opera her performance yesterday was
in many respects a disappointment.
Possessing a light voice of pleasing
quality, she was unfortunately too dom
mated with the simpler procedure OF
placing her voice to project composite
interpretive idea. Lacking naturalneSs
and spontaneity in her singing, the
pure, clear tones she sometimes dis
played could not carry sufficient weight
against her general preoccupation with
detailed effects. Her best work was
done in the delicate passages of "Spi-
ratio Peer" by Donaudy; "Chanson
Solveig," by Grieg. and Debussy's Man
dolin," where her voice seemed more
secure and less varying in color.
Handels Caro- Selvi," as introduc-
tory number, was so well snug that it
promised a greater expansion as the
program proceeded and the opening
phrases of caro- Nome" had a moving
quality which few singers put into
them. However, Nine. Norena did not
fulfill the promise of her first numbers
later in the program, although it must
be admitted that the use of the harp,
flute and cello combined with the piano
for the accompaniment in certain num-
bers was not happy choice and might
well hamper singer in what she might
wish to do. Mildred Kolb Schultze was
the accompaniSt for Nine. Norena and
in one number, for Mr.. lie Roy. Mrs.
Schultze had sensitive feeling in her
playing, but did not provide sonorous
enough background for the artists, and
in one or two moments made slight
misSteps that just escaped serious con-
sequences.
In the chaminade "Fantasie" and
Chopin's 'Valse" Mr.. LIE Roy showed
q dextrous command, and proved him.
self an artist of fine phrasing and dash
ing effects. Into the clear, cool sound
of the flute he put a temperamental
verve that could hardly be held in
bounds and which made one regret
there was not more space for him to
demonstrate what he could do with
this pastoral instrument
His compatriot, Mr.. Janet, seemed
to have overlooked the popular harp
numbers with which harpists are won't
to prove their virtuosity The Petrini
Variations" were not particularly in
teresting and lie Source" by Hassel-
mans, attempted no more than to
show a sonorous tone and reasonable
amount of technical demands. Ac-
customed as audiences have become
to being thrilled by sweeping runs
and scintillating arpeggios and an in
finite variety of, to the layman, intrigu-
Aioue. the fundamentally sound play
sne of Mr.. Janet did not impress In
the two numbers played by Mr.. Rus
sell he provided sympathetic accom-
paniment and blended unobtrusively
with the trio in which Nine. Norena
and Mildred Kolb Schultze took part.
Although the musical archives do
not provide many duets Tor cello ana
harp, there must be more Wortn-Wnlie
compositions for serious concert pro,
gram than Saint Saens' La Cygne
or even Minis Grandma" It would
not be fair to base a judgment of Mr..
Russelrs ability after hearing only
these two short works OF no muslcai
demand. The most pleasing OF tne