Evening star., 1937-11-30
Applause Forces
Many Numbers
TOEncOreS.
BY ALICE EVERSMAN.

Inc stage was riot OF color as re-
flected in the vivid scarfs which COW
cred the music stands and In the rich
reds and yellows of the women's cos
tunes. On the back of the directors
white satin shirt was embroidered the
Mexican symbol of the eagle with out
spread wings in warm brown and yel-
low tones. The only modern note was
the sheet music and the baton in Mr..
Mercado's hand.
Although the volume OF the Or
chestra was hardly large enough to
fill the hall with the custom. " guam
tity of sound. its ensemble is so ex-
cellently balanced as regards tone
that the effect was most pleasing. In
addition to the native Mexican in
StrumentS, the guitar and the Salterio,
the regular orchestra string instru-
ments were used, completed by wood
winds, timpani and the piano. The
individual members of the orchestra
are artists in their own right and,
skillfully directed by Mr.. Mercado,
they gave q highly artistic perform
ance of a well-planned program.
Music typical Of Peru, Chile, Ar
gentina, Colombia, Cuba, Spain and
Portugal served to introduce the au-
dience to Latin rhythm and har-
monies and as second group, music
of purely concert character was pre-
sented, concluding with Rimsky-Kor-
sakoff's "Capriccio Espagnole." The
orchestra and soloists, polished as
was their performance of these di-
versified numbers, gained greater
abandon in the typical Mexican music
which formed the final group. Much
of it was arranged by Mr.. Mercado,
with the noted native composers, Au-
gustin Lara, Velino Preza and Maria
Grever, also represented.
Each division of the program was
enlivened by the appearance of the
separate soloists, who had virtually
to repeat every number, 50 enthusiast
tic was the reception OF their colorful
and striking performance Mr.. Ruhio
is already know here As soloist at the
Pan American Union, and his fins
tenor voice showed to advantage in
the larger expanses of the d. A. r.
hall. Senorita Valdez uses her lyric
soprano with great ease, holding all
OF her tones. even in the upper reg
lister, without any forcing. Besides
some lighter and more typical num-
bers, she sang DeliDes' Les Filles de
Cadiz' with lovely effect.
The most picturesque soloists were
the dancers. Luis and Josefina Ojeda,
who danced two typical dances, the
"Fado" of Portugal and ia Jicara"
of Mexico, besides interpreting tLe-
cuona's "Malaguena." The brilliant
colors of their costumes and the fire
and expertise of the dancers, brought
forth such rounds Of applause that
each number was repeated.
Among the orchestra personnel
were two masters of their instru-
ments, Senorita Sarita, salterst, and
Carmen Delfin, pianist, both OF whom
were heard in solo numbers. The ex-
traordinary skill of Senorita Sarita on
the difficult and ancient instrument,
the saltario, and her splendid mu-
steamship, could be fully appreciated
in Chaminade's "Concertino, op. 107,"
a transcription Of which for flute and
piano was used. Again in the tango,
Bella Nina" by j. Torres Of Argen-
tina, where the salterios are given
the most prominent part, and in fact,
throughout the entire program, the
clear, bell-like tone of this descendent
of the biblical lutte. under the light,
facile fingers Of the artist, gave a
special charm to the ensemble.
Senorita Delfin, a pianist Of marked
distinction, played her own compo-
sition, Prelude in c minor" to q
soft orchestral accompaniment. Her
name appeared again on the pro-
gram as composer of the song, Cuban
Dream" sung by Senorita Valdez Her
contribution to the program was one
of the highlights Of the evening. AL
though the repetition Of most of the
solo numbers made the concert a long
one, it could have been much longer
had the audience had its way, for 1t
took every opportunity to show the
director and the soloists its apprecia-
ton Of their artistic work in a color
full and interesting program.