Evening star., 1942-03-12

the D. A. r. hall has witnessed
moved along with speed and humor
through the personality and the
artistry Of this unique singer.
1t was an operate concert in
which Mr.. Baccaloni was assisted
by a cast consisting of Florence
George, soprano; Elizabeth Wysor,
contralto; Franco Perulli, tenor, and
Ivan Petroff and Earl Wrightson,
baritones. Excellent singers and &C
tors, all of them, and gaining in
dividual recognition in solo numbers,
they nevertheless were but we'll
chosen and accomplished adJuncts
to the principal figure-and figure
in truth is the great basso-oufro,
being the largest singer as to girth
In the limelight today.
Little attempt was made for scenic
effect in the opera excerpts that
formed the major portion OF the
program. Whatever was necessary
for the action in the way Of tables
and chairs and few minor acces-
sories was there and the rest was left
to the imagination OF the audience.
The singers were in costume, how
ever, and these were rich and COL
orful The instrumental accompan-
iment was two pianos played by
Mario Varchi and Everett Roude-
bush, who did a good job of making
the absence of/an orchestra unno-
ticeable
In this setting Mr.. Baccaloni took
the center of the stage and held 1t
undisputed during each OF his ap-
pearances. These consisted OF sec
tions of Donizettis The Elixir OF
Love-" the tavern scene from Nous
sorgsky's Boris Godounoff" and Act
II of Donizettis Don Pasquale."
each of the three calling for another
angle OF the art Of operate comedy
Naturalness is the keynote OF Mr..
Baccaloni's acting and the spon-
taneity and verve which he puts into
it is done without the slightest ex-
aeeeration. Innumerable small
points, such as gesture, facial
expression or an attitude, etch his
characterization with extra clear
ness. 1t is all fine in treatment, well
thought out and reasonable. His
histrionic ability alone would make
him distinctive but IN addition ne
possesses a magnificent voice, large,
free and resonant, which has the
same vitality in its tone as his acting.
A splendid musician, he Is sureness
itself in the tricky music OF his roles
and because Of his knowledge Is able
to give himself entirely to the char
acter delineation.
The most remarkable Of these was
that of the Monk Varlaam IN
Boris" Had he ever been cast In
the opera with Chaliapin in the title
role. he would have matched the
great Russian artist IN the power OF
his portrayal. He made OF the un-
couth monk as strong, If different,
a sketch as did Chaliapin OF Boris,
and the scene in the tavern became
a great scene dominated by leering,
drunken Varlaam. AS the charlatan.
DR.. Dulcamara, in THE Elixlr OF
Love-" and as Don Pasquale he was
equally compelling but the most
difficult nuances Of his art went
into the portrayal Of the monk.
In Don Pasquale," the next IN
order of excellence was Ivan PetroH,
whose beautiful voice and suAve act
ing helped carry of the scene IN
lively fashion. He was also heard |
In the solo Largo al factotum'
from "The Barber of Seville" splen-
didly sung.
A remarkable contralto voice Is
that of Miss Wysor. who sang the
aria 20 pretres de Baal' from
Meyerbeer's LIE Prophet" and took
the part of the innkeeper In Boris"
Her wide range has in it no breaks
and has depth and color throughout.
with smooth agility not often pos
sessed by the heavier toned female
voice. In contrast. the light So
prano of Miss George, who was the
Adina in THE Elixir Of Love" and
Norma in Don Pasquale," registered
effectively in the Oneratic SceneS and |