Evening star., 1947-04-23
BY Alice Eversmon

The one part OF opera that Isl
practically unknown here Is that OF
the basso buffo, so the appearance
In Constitution Hall Of Salvatore
Baccaloni, the greatest living expo
nent of that style, as soloist with
the Philadelphia Orchestra was
something Of an event. Some years
ago he sang here with concert
company giving scenes from opera
but 1t Is possible that last night was
the only time that arias OF this kind
have formed part OF q symphony
program. Eugene Ormandy, conduc-
tor of the Philadelphians, sur
mounted skilhully the difficulty of
including the proper type Of orches-
trail numbers to fit In with the sing
er's selections. Franck's beautiful
symphony had a place all its own
as opening number, and after all the
fun, the "Waltzes" from Strauss
Der Rosenkavalier" was logical
choice to end the concert.
Had not a variety Of circumstances
led Baccaloni to the buffo roles, he
might well have gained equal re-
nown In other bass parts. His voice
Is by nature and schooling emf
nently fitted for all operatic re-
quirements. It Is large, mellow and
flexible. But he has the comedy gift
that cannot be learned. 1t activates
his whole body, his feet to light,
dancing steps, his face to mobile
change of mood and his hands to
expressive gestures. There radiates
from him continuous sense of
good humor and he needs but to
strike a pose to set an audience
laughing.
It was great art that he presented
last night. For the vehicles for most
of it he went back to the two men
who knew best how to write comedy
parts In their theater works, Mozart
and Cimarosa. From Mozart's die
Entfuehrlng aus dem Serail," he
sang two of Osmin's arias and from
Don Giovanni" Leporello's MA
darnina, II catalogo questo" and
"Ah, pieta, signori miei." Facial ex-
preston, gestures and a bit Of ac-
ton underscored the meaning Of
the words so clearly that their hui
NOR could be fully appreciated, al
though sung In German and italian.
Cimarosa's "Il Matrimonio Sc
greto" was so successful at the time
Of its production that 1t threatened
Mozart's fame. It's popularity en-
dures to this day and this charming
work was heard here in It's entirety In
1888 In the Library of Congress, pre-
sented by Juilliard School of Music.
Geronimo's aria "Voi tutti, udite, lie
orecchie spalancata" was given, to-
gether with lie ragazze che son di
vent anni," all that remains of Ci-
marosa's lie Astuzie Femminili." !"
Here again, Baccaloni's refined
artistry in comedy put present-day
stamp on these works.
More familiar to operagoers OF
today is Verdi's "Falstaff" from
which Baccaloni sang Monde ladro,
monde rubaldo" and "Quand'era
paggio di Duca di Norfolck." His
own girth comes closer to q true
picture Of this famous character than
that Of most artists taking the role.
Excellently sung from a serious
musical consideration, 1t was, how
ever, his great ability to bring to
the concert platform the complete
comedy essence of his selections
that made the occasion both un-
usual and delightful. The audience
enjoyed itself so much that it could
hardly let the artist go and the long
sounding applause brought him out
again and again.
In this program, which was the
Philadelphia Orchestra's farewell
for this season, MIR. Ornandy made
Ia profound impression with his