The Northwest enterprise. [volume] (Seattle, Wash.) 1931-1952, 1936-12-11
Critics Acclaim Artistry
OF Roland Hayes Work

Theatre. was made emphatic by
the enthusiasm with which ne was
acclaimed by the press. Local COM
mentators were profuse h, their
praise of this renowned artist ak
cerpts from what they have writ
ten indicate the extent of their
commentators.
J. willis SIRE Of the Post-IateI-
Hgencer said. For the tenth time
Roland Hayes. Negro lyric tenor.
has come to Seattle and captured
an audience without a struggle.
Captured and captivated. Seldom
since the last preceding Hayes con-
cert, ct the Civic Auditsy.sim, has
there been more unaffected en-
thusiasm at a musical event than
there was when the Seattle Urban
League presented this singer at
the Moore His technical equip
ment is flawless as ever, his sing
ing as effortless, sweet and ideally
phrased; his words come crystal
clear" OF Mr.. ParKam he said !.
Hayes has brought different ac-
companists :. but none more gift
ed than Percival Parham. He was
so effective at the pianoforte that
the audience WOULD gladly have
seen the recital turned into a con-
cert with solo humber for the
instrumentalist"
Dorothy Brent Of the Times
iorote. One almost forgets
in the intervening year or so since
his last appearance in Seattle that
his voice is like so much velvet,
that his high tones can be whis-
pered so and yet be heard in every
corner, that he has such strength
of voice, during the passionate pas
sage of operate arsas, that If his
singing of German lieder and Eng
lish songs is perfect, his Negro
spirituals are superperfect. It just
doesn't seem possible. But it is
for Roland Hayes OF course
he sang The Crucifixion' like a
prayer :"
Charles Ddggett of the Star.
Roland. apostle of beauty and
finest of American singers, brot
to Seattle such a great-hearted,
great-souled concert performance
as is rarely heard anywhere. Those
who heard him caught a glimpse
and heard a snatch of greatness
and clamored, in the end, for more
and more. For Hayes is so close
to the eternal pattern of truth
the essential rightness and beauty
that can be found in life that he
must be recognized as Gods own
man. One leaves the theatre after
having heard him, with heart high,
head high and an immense feeling
of gratitude to the singer
There is dignity in his presence
that defies description; he seems
so humble in the face of his own
genius and the greatness of all
music. Choosing simple songs,
songs close to the heart, exquisite
German lieder, tender, gay folk
melodies and Negro spirituals,
Hayes made hem even simpler,
refining theln by the massive tai
ent that is his, into the quintes-
sence of simplicity"
What more could one say. To
have had an opportunity to sit in
the audience and to witness the
thunderous applause that shower
ed down like blessings on a head
bowed ia humble gratitude; to
have heard the audience strain in
its efforts to let the lyric tenor
know that they acclaim him Am
eriea's finest artist" to have been
q part Of this eager audience, was
to receive an inspiration of poig-
nant significance. To have heard
Roland Hayes unfolding the mag
nificent beauty of his voice as he
interpreted masterpieces of Ger
man, French and English, was to
have been lifted up into realm
of ethereal loneliness. Besides the
numbers mentioned by the com
mentators, perhaps the m ost
touching rendition was of a poem
by Langston Hughes, Life for nae
Amt been no Crystal Stair" and
set to music by Percival Parham
his accompanist. It permitted an
Unusual opportunity for the revela-
ton Of the artistic skill both fol
Mr.. Hayes and Mr.. Parham.
A great artist has been in oul
midst, and has left a taste Of last
ing beauty that win never be for
gotten