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Show IMPRESSION MADE H JUS. GDDDARD M K AUDIENCE A great big human being, with a voice capable of frightpning the spir-I spir-I its of evil or charming the angels, is James (Joddard, who won ;i p rnuin nt abiding place in the hearts of an au-dience au-dience of Ogden musical people at the Tabernacle lat night. H was assist d in a musicale of high artistic mer it by Robert Yale Smith, pianist, and the Ogden Tabernacle choir The event was the closing number of the 1916-1 7 community Lyceum course and was more than worthy of the position. While the audience was larger than at the preceding entertainments, it was a matter to regret that the Tabernacle Tab-ernacle could not have been tilled as in the old days, when Ogden held an enviable reputation for welcoming the world's gieat exponents of the divim art. It was Goddard's first concert in O dt-n and when he came upon the platform plat-form to sing his first group of songs his huge bulk created a sensation that was kept under covei by welcoming applause. Though nearer syen feet than six in heighth, the basso is well proportioned and his platform manner is that of the polished, courtly south ernei which Is his by rieht of birth, for he hails from Tennessee. Mis Brsl number, "Le lacerato spirito" (Verdi) deepened the impression that his bigness of person had created, but this was entirely removed bv his soulful soul-ful interpretation of "Gib Mir Pein Herze" (Gup me your heart), by Hermann, Her-mann, which followed "Calf of f.old' (Faust), the onl opera selection selec-tion of the evening, closed the group and. responding to a virtual ovation of applause, the basso sang "Drink to Me Only With Thine Ees." Several times he turned and sang to the choir, to their manifest appreciation. Displays Versatility. In his second eroup, a beautiful sen- Itlmental sonc, 'The Bitterness of : Love" (James P Dunn) divided two dramatic numbers, "Invictus" (Huhn) land 'Danny Dee-. er" (Walter Daru-rosch), Daru-rosch), and the contrast of spim in the three songs was illustrated wwh finished artistry. In the third number the Tennessee singer and romposer joined talents in a vivid musical pic-jtuie pic-jtuie of the scene described by Kip-I Kip-I ling's famous poem. The interpretation was that of a master of dramatic art as applied to j singing and that the singer should re-I re-I ceive an encore call was apparent be tore the song was half concluded. The call came and Goddard responded with I a humorous negro dialect sonc, "WhJ Adam Sinned" (Rogers). This was one of three that followed In the same dialect and for which the stalwart bas-I bas-I so will be longest remembered. They I were "Deep River" (Burleigh), Exhor-,1 tation" (Cook), and "Superstition" (Greene), and Goddard was in his ele i ment. It is a far cry from grand op-! op-! era to negro songs and their equallv fine interpretation was the singer's best claim to greatness as a concert artist The dialect was perfect and several southerners in (he audience i had visions of home, while their fellow I auditors were enjoying the songs for their content of humor and sentiment. Great Dramaiic Power. "Requiem" (Homer) and "The Two I Grenadiers" (Schumann), with "Superstition" "Super-stition" sung a an encore, closed the program. The Schumann number was particularly effective, the great dramatic dra-matic power of the American basso's oice being displayed In its fullness. Though officially known as the Wag-1 Wag-1 nerian basso of the Chicago Grand ! Opera company, Goddard's voice jn its , upper register is of rich baritone quality qual-ity and he is at home in all of the mu-I mu-I slcal language. It would be a great treat some day if he could return to j Ogden for an evening of oratorio w ith I the Tabernacle choir A Splendid Assisting Artist. As Goddard's interpretation of negro I songs was above that of a minstrel, or, 'vaudeville singer, in artistic finish, so was the piano playing of Robert Yale (Smith above' that of the ordinary pro j fessional pianist. His favor to the au-I au-I dience, in addition to playing the accompaniments ac-companiments for the vocal soloist in intelligent accord with the latter's mood, was two groups of choice piano solos and two encores. The composl tions were "Nocturne." "Vogleln, ' and Wedding Day,1 by Grieg, "a la bien, aimee" (Schuett); "Elf." (Phillip). Concert March" ( Hollaender) . and the encores. "Butterfly etude" (Chopin), and "Water Lily" (Macdowell). These I gave opportunity for a display of cultured cul-tured musicianship and an intelligent understanding of what average concert' audiences like to hear in the way of i piano music, and he was equal to both.. Choir's Fine Impression. The presence of the Tabernacle1 choir added dignity and pleasure to the musicale and its two contributions to the program, "Hymn to Music" (Buck.) and "Goodbye" (Tosti) won enthusias tic applause from the audience and encomiums en-comiums from the visiting artists. Director Di-rector Joseph Ballantyne held the singers under the spell of his baton in ' the masterly manner that has gained him recognition as one of the coun try's great choral leaders and Sam F Whitaker gave fully adequate support at the organ. Preceding the recital, Rev. Frank G. Brainerd. representing the Community Com-munity Lyceum bureau, thanked the patrons and urged greater support for next year's Lyceum course. oo |
