Evening star., 1950-11-15
BY Alice Eversmon

program in Constitution Hall last
night was reached with his sing
ing of the "Prologo" from Leon
cavallo's "Pagliacci' as encore
after two other arias, the "Avant
de GUTTER ces Lieux' from Faust"
and the Largo al Factotum" from
THE Barber of Seville" The au-
dience shouted and applauded and
refused to be quieted. Even after
the Metropolitan Opera baritone
came out to bow again and again,
the tumult persisted. 1t was fol-
lowed by a long wait while the
artist rested for his final group
of songs.
This was Mr.. Warren's first ap-
pearance here in recital. Few of
his opera and radio fans had had
the opportunity to hear him in
songs on a concert stage, for his
previous performances in this city
have been with orchestra. He
proved himself as adept a singer
in the more intimate style as in
opera, although his superior as
surance in the ariaS testified to
his greater familiarity with this
medium. The power and reso-
nance of his voice and the char
acter of his interpretations, which
are individual, swept his listeners
away and resulted in one of the
greatest demonstrations accorded
a singer in Constitution Hall.
Mr.. Warren's voice caresses the
music at all times. 1t is, perhaps,
this inherent emotional quality
that is the most exceptional part
OF his equipment. He has the
good sense not to force it in dra-
matte moments but to make it
serve a stirring effect and Still
retain its velvet quality. He DEM
orlstrated his thorough control in
this respect also in the "Credo"
from Verdi's "Otello," and in the
"Toreador Song" from Carmen"
given as encore. Occasionally, it
seemed as if the proper punch
was wanting. or it may be the
orchestra background-he sang
last November with the National
Symphony with rousing success
stimulated him more than did the
piano.
But he is an artist who has
mastered all details of his art.
His breath control appears to be
limitless and his soft tones are
a delight to hear. Again, one
might wish for more concentra-
ton of the tone in a big climax
to give the forcefulness most of
the arias require of a baritone, but
there are so many singers who
specialize in such effects that to
ind one considerate of quality at
all times is a rarity. His diction
could be clearer, but here also his
first thought is for vocal round
ness and freedom.
The program was divided be-
tween classic numbers, songs by
French composers, the arias, and
an English group. The aria from
Handel's "Floridante" proclaimed
his understanding of style, further
exemplifled in Monteverdi's NAL
edotto sia laspetto" and Caccini's
"Amarilli." The long interpretive
line Of Faure's Les Berceaux''
and the equally demanding Mad
r1gaP' by d'Indy showed his skill
at spinning a vocal phrase, while
the intricacies of Ravels Chan
son boire" were met with fexi-
bility.
The French group. which con-
cluded with beautiful perform
ance of Bizet's "Agnus Del" was
the most choice of the program,
The songs by American COM
posers were of the popular kind.
with the exception of Dello Joio's
There Is a Lady Sweet and
Kind" modern setting of a
lovely text. It really did not
matter what the songs were,
everything Mr.. Warren presented
pleased his audience completely.
Willard Sektberg was a most i
able accompanist. technically pro-
f1cient and in sympathy with the
singers intentions. He had al
personal success in the piano |
numbers, Debussy's la plu que
lente" and Brahms Rhapsody, |
op. 119, No. 4" to which he gave
Bach's "Jesu, Joy of Mans De-
string" as encore.
Patrick Hayes, who presented
Mr.. Warren'S recital, added a fl
lip to it by announcing a contest
In the program. Three uniden-
titled encores were to be given.
To the winner naming these and
sending to Mr.. Hayes Office, 1l08
G street NV. a statement of
Is words or less telling which
encore they preferred and why,
two tickets for the season would
be awarded. Runners-up are tol
receive two tickets for a future
concert. The entries must be