Evening star., 1941-01-18
De Vermond Scores
In Washington Debut
BY ELENA DE SAYN.

The local debut of Kai de Yer
mond, basso- -profundo, at the Lin
coin Congregational Temple last
night added an artist of consider
able operate experience to the ranks
of the Washington singers. Mr.. de
Vermond was assisted by Marjorie
Gibson. harpist of New York City,
and Mary FormWalt, talented
young pianist of this city. The con-
cert was under the auspices of the
Temple Guild.
Mr.. de Vermond'S innate under
standing of musical values lent dis
tinction to his well chosen program.
The array of familiar and unfamiliar
composers made for a variety of
schools and nationalities, all of
which the singer handled with taste
and feeling The opening numbers
we're sung in German and included
the dignified air 20 Isis and Osiris
from Mozart's The Magic Flute,
Schubert's famous songs "Aufen-
thalt" and Der Tod und das Maed-
chen" which disclosed we'll modu-
lated voice and a fine diction. Arl-
bergs Nit deinen Blauen Augen''
and Erich VOLTS "Ewig" conclud-
ed the first group.
However it was in the arlas Placer
D'Amor' by Martini, II LaceraUo
Spirito' from Verdi's Simon Bocca-
negra" and in IL Cieco" from Mas
cagni's Iris" that Mr.. de Vermond
scored his greatest success. The lat
ter. admirably suited to his vocal
range, enabled him to sing with
greater freedom of expression and
/ of volume. The tragedy of the blind
father abandoned by his daughter
was forcefully impersonated by Mr.
de Vermond who, through the me-
dunn of his voice. succeeded in con-
veying the text of the aria in spite
of its foreign idiom. Enthusiastic
applause and recalls warranted
Tosti's VIOLA Serenata," which the
singer gave as an encore.
A graceful silhouette, against the
gold of the harp, was Miss Gibson,
who delighted her hearers with her
glissindi and harmonics. those char
acteristic assets of the harp which
hold the attention and exercise the
imagination of the listener.
! But it was not with the fanciful
/ gusts of wind or weird effects in
corporated in Sahedos charming
"Chanson dams Ia Mutt Spanish IN
character, nor in Pierne's I'M
promptu Caprice" that Miss Gibson
showed the extent of her technical
equipment and musicianship. but in
Debusseys EN- Bateau," which she
played with sustained tone and a
clean cut Interpretation. The recep-
ton accorded her was spontaneous
and she was warmly applauded after
each selection.
After the intermission Mr.. de
Vermond gave an opportunity to be-
come acquainted with Nordic songs,
which he presented in their original
languages. There were two by
Sioegren's Romans" Swedish, and
"Serenad," Norwegian. and two
Danish numbers-a folksong, Lille
Karen" and Rosenfelds IA Farvell
og vaer velsignet." The last group
consisted of two French songs,
Flegier's effective lie Cor" and
MaSsenetS familiar 'Elegie." These
two and Cadman'S "The Brooklet'
we're accompanied by Miss Gibson
on the harp. One of Tschaikowsky's
best and most representative vocal
selections, "The Pilgrim Song;
Paulsens THE Night Has Thou
sand Eyes" and Freer's 'Galloping
Song" closed an interesting pro-
gram. Miss Formwalt's pianistic
touch and sympathetic accompani-
ments lent finish to the perfect en-
semble with which it was presented.