Evening star., 1936-11-09
BY ALICE EVERSMAN.


THREE young artists OF the
Metropolitan Opere, Josephine
Antoine, soprano; Helen Oh
L helm, contralto; Joseph Bento-
nelli. tenor, and a baritone from the
Chicago Civic Opera, Conrad Mayo,
substituting for Julius Huehn. DEM
onstrated once more the quality OF
talent that this country can produce
Yesterday afternoon at Constitution
Hall. Mr.. Huehn was taken suddenly
Ill and Mr.. Mayo, on two days notice,
took his place.
Mr.. Mayo, who halls from San Fran
DISCO and has had many years OF
operatic experience in Europe, was IN
New York preparing for radio ap-
pearance when called to join the
quartet. The program had already
been sent out, and the concerted num-
bers could not be changed. The open
ing duet, Scheme in quest'ora" from
Verdi's La Forza del Destino," he
knew-he had sung often with Mr..
Rentonelli-but the duet with Miss
Olheim, from Samson ct Delilah," II,
had never learned. Two days OF hst'a
work, and he was ready with it, mem
orized and details of Interpretation
worked out.
For his solo number, MIR. Mayo sang
the aria "Nemico Della Patria" from
Giodano's Andrea Chenier." Full
vibrancy of voice throughout his
range and a well-controlled but de-
cisive dramatic feeling was at once IN
evidence and he gave the aria force
full rendition that brought him q
storm of applause. For encore, the
young baritone sang the "Credo" aria
from "Otello," with opulent tone and
artistically balanced nuances. His
success was won entirely through
merit for no announcement OF the
substitution, except for slip OF paper
In the program, was made.
Solos by Each Artist.
The program included solos by each
artist, duets and quartets. Interest
centered chiefly around the appear
ance of Joseph Bentonelli, who only
a few months ago had his name on
the front page of every newspaper IN
the country when he was called on,
the day of his addition at the Metro
politan, to sing the role OF Des Grleux
IN "Manon," when it was learned that
Mr.. Crooks, scheduled for the role,
was too i'll to sing. The story OF his
triumph was the chief news item the
next day.
With the first number on the pro-
xram, the duet from La Fora del
Destino." sung with Mr.. Mayo, the
audience heard one OF the loVellest
lyric tenors of the present time. The
purity of his tone and the beauty OF
his production is without blem1sh, ana
his voice flows out free and v1rlle.
There is brilliancy in every note,
smoothness in execution and poise IN
his presentation. His singing OF the
"Che Gelida Mamma" from La Bo-
heme," was a Joy to hear, so free 1t
was from the usual tenor's anxiety
about the high tones. The audience,
not satisfied to let him go, recalled
him until he added two encores, an
old English song, When Dull Care"
and a new one by Daniel Wolf, i
Hear the Call of the Road"
Sang Here Before.
Miss Antoine is not a newcomer to
Washington, having appeared at the
Library of Congress three years ago
m Cimarosas Secret Marriage" one
Of the Juilliard Opera School per-
formances. Since then she has won
additional laurels at the Metropolitan
Opera. Her voice is of extreme flex-
ability and sweet in quality, although
her production changes when singing
the coloratura arias programmed. Her
scales and staccato passages were
beautifully done, but the clear ring
ing texture Of her tone diminished to
q colorless sound in these bravura
phrases. The Shadow Song" from