Evening star. [volume] (Washington, D.C.) 1854-1972, 1946-11-18
Is Warmly Received
In Initial Washington Recital
By Alice Eversmon


Bjoerling had no difficulty in keep
ing at high pitch throughout the
program.
His voice is one that flows warmly
and freely from true singers i'm
pulse. This is felt above all TECH
'nical art or musicianship and is per-
haps the secret of its appeal to the
audience. He has immense resources
and never touches their limits. The
tones soar into the heights with the
same vitality that gives. depth and
sentiment to a simple line in the
middle register and he takes great
care that every note Is projected in
as polished q manner as possible.
Tt was fine singing natural, Spon-
taneous and artistically satisfying.
The program was designed to give
the public the opportunity to hear
him as both opera and concert
singer. 1t was difficult to decide in
which role he pleased most. The
listed arias were the "Addio ALA
madre'' from Mascagni's "Cavalleria
Rusticana," the Flower Song" and
Carmen" and Rudolpho's area from
Puccini's LA Boheme" but these
were supplemented by the "E lu-
cevan lie stelle" from "Tosca" and
La donna mobile" from "Rigol-
etto" given as encores. He has the
dramatic fervor to infuse these
numbers with strong feeling and
his voice expands into the brilliant,
sonorous power such as the great
tenors Of the past commanded.
Divorced from the moving scene
OF which 1t is the highlight, the
"Cavaleria" aria is less effective in
a recital program. It is difficult to
reproduce the required anguish, and
without the acting its disjointed
measures have not much meaning.
The ''Tosca" and "Boheme" arias
have never been better sung but
the Flower Song" exqusitely set
forth in the opening measures,
missed fire in the phrase leading
to the high note which was the
least skillfully produced Of any of
the afternoon.
The songs, however, were the
greater test and these were sung
with immense appeal. Mr.. Bjoer-
ling does not employ a wide range
Of dynamics but gains his effects
through well and nodded phrases
and through the sincerity Of his
musical feeling. The warm timbre
of his voice. its steadiness and even
ness are ideal mediums for the in
Elections he used in such songs as
Schubert's Wanderers Nachtlied''
and Die boese Farbe," Strauss
"Morgen" and "Staendchen."
The same finesse polished the
broad line of Beethoven's Adelaide"
and the more dramatic 'Ingemisco''
from Verdi's Requiem. which were
the opening numbers. Mr.. Bjoer-
ling's taste and sense of style was
fully apparent here. Yet the climax
Of his singing arrived in the two
songs Of his countryman, Hugo
.Alfven's "Skogen soyer" and jag
langtar dig" and In Sibelius' "Sav,
saw, susa" and "Svarta Rosor." The
ovation accorded him lasted for some
time and brought as encore Grieg's
81 Love Thee" The end OF the
program found the audience still
enthusiastically applauding in a
manner not often heard in the
auditorium.
Frederick Schauwecker at the
piano, contributed the kind of sem
sitively attuned accomplishments
that added considerably to the sue
cess of the recital.
Sinfonietta Is Outstanding.
The National Gallery Sinfonietta
did some Of its finest playing last
night in program requiring elias
ITCHY In execution and musical In
sight. Most demanding in this re-
spect was the Haydn symphony
No. 97," the first Of the six commits
stoned by Solomon for Haydn's Lon
don appearance. The ingenuity OF
this music is on the surface for its
portrayal requires the changeful
coloring and delicacy Of treatment
which the SinfoIietta,s director
Richard Bales, devised for the per-
Torrance last night.
The novelty of the program was
Edna Frida Pietsch's Five Oriental
Impressions" consisting of Lula
by" Temple Dance Puppets, y
Desert Caravan and Ritual
Dance" Miss PietSch has been more
than usually successful in recreat-
ing an Oriental atmosphere and
these little miniature pieces, all of
them short, sketch with a few
strokes and q remarkable economy
Of means, her subject matter. The
most effective Of the group are
Temple Dance" for kettle drums
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