Evening star., 1938-02-28
Grace Moore
Welcomed in
Recital
Great Applause
Creets Return of
Popular Soprano.

thunderous applause Of welcome
greeted Grace Moore yesterday after
noon at Constitution Hall, where she
returned in song recital after an alb
sence Of two years. To her many
admirers the first glimpse Of this pop
ular soprano, attractively attired in a
vivid rose-colored gown, was sufficient
to give vent to their enthusiasm,
which did not diminish until her last
Offering.
Miss Moore was assisted by Samuel
CARMEL, violinist, and Isaac Grove,
accompanist, the latter in no small
measure contributing to the success
OF the concert. Some Of the numbers
on the program were quite outstand-
ing in their presentation, such as the
group which included Debussy's "Air
de Liza" from "LEnfant Prologue"
"Fantoches" and La Mort des
Amants" by the same composer. 1t
was with genuine pleasure that one
followed Miss Moore's interpretations,
her subtle shadings and her general
understa nding Of the peculiarities Of
Debussys style. Her tones were pure,
polished and we'll placed, and she
sang with ease and abandon. The
same can be applied to her gripping
delivery of Arensky's Waltz" ar
ranged by Koschetz, and to the gay
"Seguidilla." by De Falla, followed
by the "Gavotte." from Thomas opera
"Mlgnon" as an encore
Group Sung in English. =.
A group sung in English consisted
Of songs BY pelius, Bridges, Hageman,
Clutsam and Carpenter. The ones
scoring the greatest success were MA
Curly Headed Baby" by Clutsam, and
Carpenters "Serenade." In the for.
her, as in Debussy, Miss Moore,s tones
were especially lovely. Considering
the purely technical side of singing,
on the whole, the English group did
not have the same stability nor the
same concentration of tone as the
songs heard earlier in the evening.
However this did not prevent one
from enjoying her artistic delivery.
Mozart's III Re Pastore," with vio-
lin obbligato, was the least successful
number on the program. One missed
the timbre and the purity of tone
associated with the flute. Mr.. Car
melrs obvious tendency to play sharp
was still more pronounced in the en-
semble, while Miss Moore projected her
tones trifle under pitch, possibly due
to natural excitement, as the aria was
the first number she sang.
Three Numbers Open Program.
Mr.. CARMEL, young violinist with
q pleasing personality, opened the
program with three selections, the
andante from the Symphony Es-
by Lalo; the Mozart -Kreis-
Ter "Rondo in g" and "Danse Espag-
nole," De Falla-Kreisler. In these
numbers, as well as in the two move
ments from the Mendelssohn concerto,
heard later, Mr.. CARMEL introduced
himself as capable violinist, well
equipped technically and one whose
tone is sweet and sympathetic. How
ever, Mr.. Carmell's intonation is care
less, and in fast and slow passages
alike he disregards the proper rela-
ton of intervals. His many porta-
mentos are not always in good taste,
while his style as yet lacks individual
ity. He had, however, good success
with the audience, which recalled him
several times, to which he responded
with an encore.
The eliminating point Of Miss
Moore's successful recital was her
singing of the aria from Puccinis
"Mme. Butterfly" "Un bel d." with
which she closed the program. Her
delivery carried all the traditional
emotion and more, and her voice
was exceptionally luscious and warm.
Even the treacherous B fiat with
which the aria closes rang free and
true to the last syllable Of the word,
which was comprehensive and prop
erly sustained. Needless to say that
the applause which rewarded her per-
Torrance was overwhelming. Miss
Moore responded with three encores,
two Of. which were arrangements of
Kreisler's violin pieces, "The Old Re-
frain" and the Caprice Viennois."
BY popular request Miss. Moore In
cluded "Chiribiribim," from one Of
her screen successes. z. de 8.
A.