Evening star., 1937-03-13

L y ling tenor voice last night in
School. Judging by the size of the
assemblage. many of which overf1owed
the seating capacity and lined the
walls, his absence lately has been
regrettable, His reception was not
far from an ovation, After each OF
his offerings, ranging in variety from
early religious works of Bach and
Handel through heder and modern
songs to present-day Afro-American
receSsionals, response was such that
the singer had to comply with numer-
Gus repetitive encores.
Aside from the fact that Mr.. Hayes
has voice of great attractiveness and
quality, he is remarkable for the con-
summate versatility of subjecting him.
self in a convincing manner to each
widely different mood of songs-songs
OF sometimes exactly opposite type.
Simply regard last evenings program.
And throughout tonal quality was true
and even-Whether the singer was reg
istering in the higher ranges or lower
whether accents were strong or in
the softest degree. Clear enunciation
prevailed, and his intimate knowledge
and understanding of the four Ian
guages embraced in the course of the
program was always apparent
Sings Caldara Pastoral.
In a program of four parts the
singer chose rare elegiac pastoral of
the relatively obscure Italian, An
tonic Caldara, as beginning 1t is
always commendable for singer to
present composition generally un-
known to concertgoers, even though
the work is not positive insurance
of his popularity. Mr.. Hayes, how
ever, made decided impression with
the Alma Del Core"
An arrangement by Robert Franz,
prominent lieder composer of the last
century, of Bach's deeply religious
"Jesu Seelenangst" found the singer
combined with An authoritative adap-
tation Of the German master to an
effective end. For Music" lyric
product of the same Franz, and a
matin song of another German mu-
sical mammoth, Frederick Handel,
were included in this section.
Splendid Brahms Songs.
The true test of any lieder singer
attempt at Brahms-availed Mr.
Hayes the opportunity to prove his
ability in 20 Kuhler Wald' 60 Dim-lit
Forest) and Der Gang Zum Lieb-
chen" (The Watchful Lover. In
these two songs, typical of the COM
poser in their reverent approach to
subjects close to him-nature and
love-the tenor established proper
mood, with a refined use of vocal
range. Claude Debussy's air of
Azael, the prodigal son. from the
opera a-cantata, "L'Enfant Prologue" 3"
brought pleasantly abrupt change
of atmosphere in the individual De-
busy style. A gay Air Viz OF the
contemporary Frenchman, Francois
Poulenc, further varied the fare.
An Afro-American song sequence
comprised OF four songs descriptive
of the life of Christ, brought Mr..
Hayes into another field in which he
is widely noted. Religious fervor and
love expressed in the characteristic
Afro-American manner is always a
welcome addition to any vocal recital.
In the serious and reserved renditions
OF the singer these selections were
even more different and popular.
Percival Parham, the tenors stand
by at the piano, fitted the instrumental
accompaniment congenially to the
singer. Always restrained, he offered
harmonious background throughout
His technical facilities, while not to
best effect in his own presented COM
position, Mother to Son." were notable
in his piano arrangements OF several
numbers. Us.