Evening star., 1942-02-18

widely In musical circles and the
two artists of last night contributed
their share by programming four
arias and q duet from his operas.
The remainder Of the selections
with one exception, Sacco's "Rapun-
EEL" sung in English by Nine. Sayao
were given In Italian or Spanish,
50 that the spiritual, aside from Its
intrinsic value. appealed as . work
by an American. Later, Mr.. PIMA
sang Randall Thompson's Velvet
Shoes" also as encore.
Nine. Sayao's exquisitely delicate
art Is most delightful in arias such
as the Och vieni non tardar" from
Mozart's Marriage Of Figaro" and
in the "Batti. BATH" from his Don
Giovanni" The "Air Of Serpina"
from Pergolesi's La Serva Padrona"
introduced the first appearance OF
the artist on the program and as
concluding number Of this group
she gave the more pretentious Una
voce POGO ia" from Rossini's "The
Barber Of Seville"
In this famous aria, the bell-lke
coloratura which is Nine. Sayao's
greatest asset gave an unusually
beautiful character to the difficult
fioratura passages. The customary
runs and development OF certain
themes were not used but replaced
by more elaborate ones. However.
the charming singer was not in the
best OF voice last night and there
has crept in to her ordinarily per-
feet production changes that mar
Its purity and evenness. Her use
of the chest tones is one Of them.
Cimaras "LInutile precauzione, I"
with words from Rossini's original
version and written by Cimara ex-
pressly for Nine. Sayao, brought
back the clarity and consciousness
Of tone that was absent In the
first part Of the program. The
staccato plays q large part In this
number and Nine. Sayao sang the
intricate intervals In sparkling
manner. A group Of songs includ-
ing "El Mercado de las Esclaves" in
Sandoval's arrangement, Obradors'
dos Cantares Populares," Nin's
Jesus de Nazareth" and sacco's
"Rapunzel" found the myers voice
refreshed and most responsive TO
her fine appreciation OF style and
sentiment. Quite the loveliest bit
was her encore. "The Little But
terfy." sandoval's arrangement Of
Chopin.
Mr.. Pinzas voice also showed the
effect OF his long season and did
not gain its roundness and pliability
until after his first numbers. the
aria "Madamina" from Mozart's
Don Giovanni" and Non piu an
drai" from THE Marriage Of
Figaro" His art, however, brings
to the broad operatic style Q feeling
for detail, eninently satisfying in
the finely spun phrases Of the Mo-
zart excerpts and still more i'm
pressive in songs Of classic charac-
ter as Beethoven's I'm questa tomba
oscura," Handel's alma mia" To-
rellrs "Tu 10 sal" and Scarlatti's s
gay "Chi vuole innamorarsi."
The deep. resonant quality Of Mr..
Pinza's voice. its power and warmth,
that, together with his gift Of emo
tional expression. has made him
the outstanding basso Of the day.
was given its best medium in "Il
Iacerato spirito" from Verdi's Isl
mon Boccanegra" which climaxed
all his former performance. This
and Pizzetti's II Pastori" and Cim-
ara's "Vecchia Chitarra" allowed
his full vocal strength to resound
through the hall and brought Mr..
PIMA special mead of applause
Two duets, and a third as encore,
brought the two Metropolitan art
lists together for some fine singing
enlivened by little histrionic effects
The audience was loudly enthusias-
tic throughout the program In
which the singers were assisted at
the piano by Milne Charnley for
Nine. Sayao and Frederick Kit
ginger for Mr.. PIMA.