Evening star., 1940-01-26
Edbert Ruhl
And MOscOna
Share HOn0rs
Joint Recital
Displays Two
Excellent Voices
BY ELENA DE SAYN.

A young tenor of this city and
leading basso of the Metropolitan
Opera combined in recital for an
auspicious debut which drew a large
and friendly audience to Constitu-
ton Hall last evening. The aspira-
tions of Edbert Ruhl, son of Mr.. and
Mrs. Alexander Herbert Ruhl, have
been followed by his friends here,
but Nicola Moscona, Greek basso, in
spite of his success at the New York
Opera, was comparatively unknown
to the local public. The two artists
not only had a notable success in
arias and songs, but presented a
program of exceptional merit, alto
gether making for one of the most
delightful recitals heard here this
season.
To Mr.. Ruhl fell the task of be-
ginning the program, and for this
purpose he chose the "Ombra mai
fu," from Haendel's "Xerxes," and
Durante's DANA, DANA" Mr.. Ruhl
Is young and gracious in his de-
meanor and has a winning smile.
His voice of pure lyric quality has
yet more body than many tenors of
this category, which may pressage
more dramatic development. His
phrasing and style in the two in
troductory songs showed excellent
training and careful study. But it
was really beginning with the aria
20 Paradise" from Meyerbeer's
'L'Africana, in the second half of
the program, that Mr.. Ruhl showed
his real metal. The excitement
having worn off, his natural gifts
unfolded to an astonishing degree,
eliminating in the aria from La
Tosca." There was dramatic ex-
preston and an appealing quality
in his voice, unsuspected heretofore,
as he sang the aria responding to
an encore after two songs by his
teacher, Emilio Roxas. welcome
Love-" accentuating the bel canto
style in its lyric beauty. and "Adora-
ton" effective and brilliant because
Of its higher notes, brought VOL
umes of applause from the audience.
Equally successful was the young
singer in the aria from Cynthia
Parker" by Julia Smith, with the
composer at the piano. An Indian
love song, richly harmonized, it was
admirably suited to Mr.. Ruhl's voice.
This lovely aria brought out the
touching note of youth, sincerity
and devotion to art, aided by the
flowing accompaniment of the tai
ented composer. In this song, espe-
cially beautiful were Mr. Ruhl's high
tones, which rang pure and true His
manner OF singing never lost in this
and other songs the stamp Of good
taste which characterizes all his
work. The number brought several
recalls for him and the composer.
A voice that is a rarity for its
combination of power and soft,
velvety quality was disclosed by Mr..
Moscona. Exceptionally beautiful
in timber, even throughout and re-
tanning its roundness and mellow
ness in both the deepest and highest
tones, it is voice equally adapted
for the concert hall or the operatic
stage. Mr.. Moscona is finished
artist, a master of vocal technique
and superb interpreter.
Three classic songs, demanding
the utmost from a singer for
their correct presentation, included
Gluck's 20 del milo dolce ardor," "
Scarlatti's 20 cessate di piagarmi''
and Beethoven's I'm questa Tomba
oscura." The remarkable express
siveness of his delivery was of ex-
ceptional beauty. In the two arias
I'll lacerato spirito" from Verdi's
Simon Boccanegra," and ELLA
giammai m'amo" from the same