Evening star., 1946-03-04
By Alice Eversmon

Two OF Latin Americas repre-
sentative singers were heard in re-
cital yesterday afternoon. In Con-
stitution Hall, the brilliant Brazilian
soprano, Bidu Sayao, of the Metro
polltan opera, gave a program of
songs and arias under the auspices
OF Dorothy Hodgkin Dorsey and a
half hour earlier, in the Pan Ameri-
can Union, Maria de Pima de
Chrestia of Argentina began a re-
cital which was her debut appear
ance in this country.
Both the vocal and personal
charm which for long has been as
sociated with Nine Sayao were to
be felt continuously throughout the
program. Her voice is one of the
lovehest OF its kind before the pub
lie today, not large in volume, it is
true, but remarkable for its sweet
ness, smoothness and flexibility. But
more potent than the appeal of her
vocal quality is her artistry, the
soundness of which is not affected
by her delicate and sometimes
whimsical way of stressing a point.
The voice gained in mellowness
as the program progressed and some
of the edge apparent in the Begin
ming was Smoothed away. 1t warmed
with the fervor she brought to her
interpretations and for which she
has remarkable protective powers.
The refinement Of her presentation
Is to be discovered in the many deli
cate touches. the capturing of mood
and the changing vocal eloquence,
of which she is mistress.
These elements were conspicuous
in her singing of the songs of
Joaquin Min and Villa-Lobos;
Polo" and "Montanesa" by the
former and "Lundu da Marquesa de
Santos" and "Nhapope" by the lat
ter. Again in Faure's Clair de
Lune," Debussy's Lies Chevaux de
BolS' and Morets lie Nelumbo,"
her fine penetration of the texts,
mirrored in the tinting of her tones
and in the just appraisal of dy-
namics for special effects, was of a
highly artistic nature. The lovely
"Nelumbo," softly sung and with its
long-held high tone, had to be re-
peated
For the first time in several years,
the I'm bel di" aria from Puccini's
Madame Butterfly" was pro-
grammed. 1t is eminently suited to
Nine. Sayaos voice and she sang
it with poignant feeling. The Ga
Vote from Massenet's "Manon"
was substituted for the waltz
from Gounod's Romeo ct Juliette"
and with the aria "Quel guardo,"
from Donizetti's Don Pasquale,"
completed the operate excerpts
from the artists repertoire
The group sung in English and
concluding the program had little
to offer except entertainment. Win
ter Watts THE Poet Sings" was
the most outstanding, with Hage-
mans familiar "At the Well" as a
second. For the programs opening
Nine. Sayao chose Pergolesi's Tire
giorni son che Nina" and Bach's lie
def de Phoebus ct de Pan" both
Of which showed her impeccable
command of style.
The sympathy with which Milne
accompanied the singer
in great measure to the
success of the recital which, to the
pleasure of the enthusiastic audi
ence, was prolonged with a generous
of encores. These were of
light character such as the song
of Chopin's Butter
fly" etude, Marie Antoinette's
Song" De Falla's Mana" and Buzzi-
Peccia's "Colombetta." A silly little
song 81, Hate Music" composer -un-t
known, made certain appeal.
; Sonora de Chrestia's Recital.
There was suf1icient in the short
but choice program presented by .
Sonora de Chrestia in the Hall of
The Americas of the Pan American
Union to reveal her as a singer of
artistic sensibilities gifted WITH q
fresh and expressive voice. She
vas equally convincing in the songs
oy German, French and Spanish
as in those from her ma
i've country which formed a final
group.
The pure, lyric quality of her voice
ends itself to every nuance and its
effect is increased by her mobile IA
,ial expressions, which reflect with
out disturbing the meaning of every
phrase. This gives to her art q
personal creativeness that Is dis
,inctive and contributes greatly to
he pleasure she conveys It may be
hat the intimacy which she tries to
establish between herself and her
listeners is accountable for the fire.
luent withdrawal of support from
ler otherwise resonant tones, some
hing that might be advantageous
n salon but not in the accousticall
of the Hall of the Amer
cas-.
Familiar with the style, and the
type of sentiment of the French
and German composers, she made
each number song etchings of clear
outline. Schubert's Die Forelle"
and Brahms "Vergaeblishes Staend-
chen" were as delicate in effect as
Ouparcs "LInvitation au Voyage,
charming "Crepuscule"
and Chabrier's Lille Heureuse.
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