Evening star., 1938-12-05
BY ALICE EVERSMAN

With a capacity audience wildly
transported by the beauty of his
singing, Benianimo Gigli rode on
waves of applause to one of the
most triumphant successes that IA
NOUS Constitution Hall has wit
messed In many a day, in his recital
there yesterday afternoon, presented
under the Dorsey management. His
listeners could not get enough of
his voice and the art of his sing
Ing and the celebrated tenor, ap-
pearing here after a long absence,
old his utmost to satisfy them. The
peak OF his triumph came when, as
encores, he sang one after the other,
the beloved tenor arias from "Pag-
liacci." Aida" and "Rigoletto."
All IN all. Mr.. Gigli sang eight
arias, four in the program and, be-
sides those already mentioned, the
Che gelida MAMMA" from La
Boheme." Now most tenors will tell
you, even operatic ones, that two of
these taxing numbers is about all
they would wish to attempt in one
recital, especially after a program
which contained IS songs. But Mr.,
Glgli's voice grew fresher and fresh
er and his mood more expansive
and these greatest arias of a tenor S
repertoire were sung as easily, but.
on, with what fire and abandon, as
II they were folk songs. In fact,
Mr.. Gigl gave in this concert what
would cost pretty penny to 20 to
the Metropolitan Opera to hear.
After great artist has been away
from the local stage for some time
one goes to hear him, it must be
admitted, prepared to find some
slipping from the high standard OF
his former work. But with the first
lovely piapissimo tones of 20 Para
disc" from Meyerbeer's "L'Afri-
cana" all doubts were set at rest
and one knew that the tenor who
challenged the fame of Caruso in
his lifetime was still the same great
singer. More than that, one heard
again the beautiful, luscious Italian
tone, the Latin warmth and the
inlmitable spirit that had endeared
this artist to the public when he was
nrst at the Metropolitan Opera. His
return to this country is indeed
welcome.
Spontaneous Demonstration,
Never has an audience been so
moved and drawn out of itself into
a spontaneous demonstration. 1t
was as II, In spite of the fine studied
eHects OF other artists. it was hungry
10 hear singing that came so natu-
rally and so beautifully toned right
from the heart. Whether in songs
or arias, the response was the same
although the greatest recognition
was given the opera excerpts which
this city has SO few occasions to
near. sung as they should be.
Ihe major part of Mr.. Gigli's
program dealt with lyric songs such
as Cestls "Intorno all'idol mio,"
Pergolesis Tire giorni son che Nina +"
Caccinis "Amarilli." Grieg's Elm
Iraum" sung in French, Schubert's s
"Staendchen." in German. and Rach-
maninof1's In the Silence of the
Night" and Daniel VOLTS Iris" sung
IN English. The perfect vocal con-
troll which he exercised. the finely
spun tone. breath of sound at
times. and the emotional significance
which he stressed so beautifully were
a revelation of the sound musician
ship of this singer of broadly de-
signed operatic roles.
Besides the Meyerbeer aria. there
was programmed the "Aubade" from
Lalo's lie Roi d'Ys," the 20 amore
bella luce from Mascagni's IL AMIGO
Fritz and the lovely "M'appari"
from Marta" With every detail
clearly etched and the warmth of
their meaning strongly projected
tnese numbers were we'll worth hear
ing alone.
Voice of Exquisite Quality.
Mr.. Gigli's voice is of exquisite
quality and capable of the finest
and the most powerful effects, He
Goes not attempt to gain favor by
strength OF tone alone but delights
IN attaining variety of tonal color
NOT once did he touch the limits of
MS resources nor force his voice to
unnatural lengths even in most
SURFING moments. And the timbre
tne style and the breadth of his