Evening star., 1948-11-29
By EIeno de Soyn

The annual song recital by Ezio
PIMA, given under the auspices of
Dorothy Dorseys Concert Bureau
yesterday afternoon. brought many
of his admirers to Constitution Hall
in spite of the stormy day. AS soon
as eager eyes caught sight of the
famed basso in the doorway leading
onto the stage, salvo of prolonged
applause greeted him as an old and
welcomed friend.
Although Mr.. Pinza's program did
not contain much that was novel,
his numbers, whether old or new,
disclosed the artist that he Is. His
voice is without a peer-rich, flexible
and resonant, one that responds
freely wherever he chooses to test
it's full power or to lend 1t delicate,
finely woven tints.
The program opened with three
short arias and two songs. each in
tended to show his natural endow-
ment. "Beato chi puo," from Ca
valli"s "Serse," and Alma mia"
arietta from Handel's "Floridante,"
explored the depth of his chest tones,
while "Dormi, amore" from Gaglia-
nos La Flora" Paisiello's mel cor
piu non mi sento," and later an aria
from Pasqini's unknown opera,
showed beautiful mezza -voce. This
aria, sung against an effective OBJ
bligato-llike piano accompaniment,
an1,iaunronyat IN tho
art of bel canto.
Among other songs presented,
were Faure's dramatic ia prison"
Bruneaus go-lucky "l'heureux Vaea-
bond" Zandonai's lugubre Il due
Tarli" and three selections sung IN
English. One, THE Bell Man" by
the Englishman Cecil Forsyth, THE
Velvet Shoes" by the New Yorker
Randall Thompson and "Dirge' by
Virgil Thomson, the Missourian. 1t
has been known for some time that
MIR. Pima is working on his English
pronunciation for the spoken lines
in Michener's Tales of the South
Pacific" transformed into musical
play by Rodgers and Harlmerstein.
It is to be produced shortly with the
singer in the cast. The good re-
suits of intensive study were in full
evidence yesterday.
But, in spite of so much perfec-
ton demonstrated in the singing of
songs, it is nevertheless in the
operate field that Mr. Pima excells
Here, his vocal infections were also
strengthened by gestures, which
played not little part in helping
to visualize operate characters. His
singing Of two Figaro arias from
Mozart's immortal THE Marriage of
Figaro" brought out not only the
familiar figure of count Almavivas
jovial attendant, but also Mr.. Pinzas
own forceful operatic personality.
Herman Allison, was the able ac-
companist.
Two Choral Groups Perform.
Two choral groups made their ap-
pearance yesterday. The Chamber
Choral Group, Paul Galloway, di-
rector. sang in the Phillips Gallery
in the afternoon; the National Press
Club Chorus, composed of newspa-
per men directed by Reinald Wer-
renrath, was heard in the National
Gallery Of Art at night.
The latter made an excellent i'm
preston in Bach's Break forth, O
beauteous. heavily light" Haydns
"The Interrupted Serenade," Han
del's Thanks be to Thee" Franck's
Psalm 150," Grieg's Brothers. Sing
On" and In Schubert's "Omnipo-
tence" In which the chorus had the
assistance of Margaret Barnwell,
soprano, in the incidental solo part.
Wel-trained in the requirements
for a public performance, this nom
professional group gave all evidence
Of musical appreciation and seri-
Gus endeavor. Part singing was
clean, sonorous and spirited. Ger
trude Smallwood Mockbee was the
accompanist.
In addition to the incidental solo,
Mrs. Barnwell presented songs, dis
playing an unusually lovely quality
Of voice and a refined manner Of
singing. Sibella's Non no parole"
Sadero's Nina Mamma Toscana" and