1 81 v.
chestra presented ably its precise but
beautifully blended melodies, and then
rose to heights of expression in the
incomparable Tschaikowsky Fifth
t symphony.
A master of blended chromatics,
Tschaikowsky proceeds in this work
with an admirable contemplative de-
liberation, with a definite progession
and apparent aim in his succession
1 of beautiful themes, brought out large-
ly through a remarkable use of the
deeper toned woodwinds. There is
seen a skillful contrasting of the var-
ious "choirs" of the orchestra, with
t themes developed alternately by the
f different parts, giving to the entire
structure a vigorous rhythmic con-
tinuity.
Between exquisite melodies, parti-
ularly those of the predominating
"motto," and the first theme of the
Andante Cantabile, and the unusual
harmonic effects, wherein the pathos
of the work is largely developed, the
symphony progresses through a dig-
nified first movement, the superb An-
dante Cantabile, the delicate waltz,
and the majestic' finale.
Frederick Stock as the director of
performances consistently admirable
for a certain fullness of interpretation
in addition to perfection of coordina-
tion and technique, has appeared again
supreme in this festival. To mention
those whose work contributes to the
Symphony's distinctive excellence
would require the recognition of the
individual ability, appreciation, and
cooperation of every member of the
orchestra.
"AIDA"
A Review, By Jack Conklin
After five concerts of everything
from Mozart to Stravinsky, the Fest-
ival still was enabled to arouse its
music-wearied patrons to an almost
enthusiastic state with Verdi's "Aida."
Leaving aside all discussion of the
artistic merits of presenting such a
spectacular opera as "Aida' in ora-
torio style, I would say that it was
an excellent choice for its direct mel-
odies and immense climaxes "put it
across" where less obvious music
might have failed.
All in all; t was a glorious per-
formance. 'The principals all had a
keen appreciation of the value and
nuances of the roles, and succeeded in
making the audience feel something
of the passion and tragedy of the
stage prodtiton. Without a doubt,
the most outstanding work of the eve-
ning was that of Marion Telva who
contributed much to this dramatic.
success of the performance. Mme.
Telva is the possessor of a glorious
voice and interpreted her Amneris
with great fire and energy, which was
at no time overdone.
Paul Althouse also sang with con-
siderable verve, and produced a Ra-
dames that was vivid and brilliant,
true in interpretation. Leone Kruse
as Aida' song beautifully, especially
the "Oh Patria Mia" which was filled
with a deep expression-but on the
whole her rendition lacked much of
the dramatic element which would
have done much to individualize it.
Chase Baromeo, taking the dual parts
of the King and Ramphis had more
opportunity to show his vocal powers
than in the "St. Francis," nor were
we disappointed. His clarity of tone
and pure diction enabled him to do
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Openings for a fen mo e members in the
STAR TOUR
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60 DAYS - ONLY $635
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