Evening star. [volume] (Washington, D.C.) 1854-1972, 1946-01-21
By ALICE EvERsMAN.

Ezio Pima, basso of the Metro
politan Opera, sang to a capacity
house at his recital yesterday after
noon in Constitution Hall. The au-
dience listened with rapt attention,
and the many fine effects incorpor-
ated in his interpretations and the
magnificent quality of his voice
scored success that led to prolong-
ing the program with several en-
cores. His program, one of the best
he has given here, showed careful
thought and was an expansion in
type and style over those of his
previous appearances.
Perhaps the greatest appeal of
Mr.. Pinza's singing is his power to
beautify the text of his numbers by
the warmth he can put into his
tones. His strong voice is flexible
both in nuance and in production
and so effortleSs in it's mechanical
emission as to make the art of it
forgotten. Its quality was most
pleasing yesterday in some of the
more delicate work, such as in Lul-
ly's "Bois Epais" and Jules Bouval's
" Les Nuages," where the covered
tone was rich in emotional import.
A rather blatant timbre crept in
sometimes, particularly in the group
sung in English and occasionally in
the classic numbers, most noticeable
when a more powerful effect was
sought. The latter group contained
two interesting works, the arietta
"Vo' Cercando in Queste Valli" by
the amateur singer and composer,
Baron d'Astorga and "Lasciar dam
arti Per Non Penar" by the Italian
composer, Francesca Gasparini, con-
temporaries of the 18th century.
These two numbers contrasted we'll
with the Handel arias, "Ah Spietato"
from "Amadigi" and "Se I'm Bell
Ardire" from "Ezio." The artist was
adept in the smooth style of these
excerpts from old operas and his
delivery of them was refined and
eloquent
Among the choice songs later in
the program were Les Nuages" by
Bouval and MacDowell's The Sea"
Both of these illustrated Mr. PIMA
art of tonal coloration and the emo
tional eXpressiveness of his voice
The French group. which included
also Pierne'S lie Moulin" and
Franck's LIE Marriage DIES Roses, "
was followed by the "Serenata" from
Mozart's Don Giovanni" sung by
request as encore.
AS excellently as Mr. Pima pre-
sented his program, in which ne was
most ably assisted by Gibner King
at the piano, it is difficult to con-
cede that he is convincing as a re-
citalist. Where number held some
intrinsic drama, he sang it fervently
and with complete appreciation of
mood and infection. But at other
times, he seemed out of his element
and there was less communicative
inspiration. 1t may have been be-
cause of this, or because the pro-
gram held no special highlight, such
as an aria from his repertoire
might have given, that there was
monotony to the recital which the
artist did little by his manner to
dispel. But that his voice is rare
one apd his artistry of a high
quality is not to be disputed.
Sonata Recital Given.
The superior ensemble which Jan
Tomasow, violinist, and Miksa Mer-
son. pianist. have developed was to
be appreciated again yesterday aft
ernoon when the two artists gave
sonata recital in the Philips Gal
lery. Three works were program
lery. Three works were program
med, the Beethoven Sonata in F
major Mary HoWe's Sonata in
D major" and Debussy's Sonata in
G minor"
The virile quality of Mr.. Toma-
sow's playing at no time sacrifices
the beauty of his tone which, while
large and sonorous, is also warmly
tinted. Mr.. Merson completes the
ensemble with pianistic equipment
of unusual proportions, combining
delicacy and depth with splendid