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66
CHICAGO
Mr. Holboll, who is by trade a building contractor, disclosed a
tenor voice of appealing quality and a method of using it which, if
it is not perfect, could, nevertheless, be envied by a professional
singer.
He presented a Norwegian folksong with adm irable effec
tiveness. It rem ains only to add that a qu artet by Lange-Miiller and
a Ju tland dance folksong for qu artet were sung to the rap tu rous enjoy
ment of the listeners.
F e lix B o v o w s k i .
A d o l f B r u ñ e
i
T h e I n te r O c ea n ,
Chicago:
The enthusiastic welcome which greeted the Danish student singers
from the Royal university of Copenhagen Sunday afternoon at O rchestra
hall was repeated last night; every offering of the chorus met w ith the
most cordial reception; repetitions were demanded and given after each
number. The uniform excellence of the singing deserves all the enco
miums bestowed on it. The attack and the endings are both faultlessly
done; there was never any uncertainty as to pilch and the rhythm ic
precision was throughout adm irable.
The lone quality was always
good and healthy, though a bit h ard at times, but the unknown language
may have made it seem so. That the softer tones are not beyond th eir
power was proven by some exquisite pianissimos and by the finished
execution of the hummed accompaniment to the solos of Helge Nissen
and Olaf Holboll.
Mr. Nissen proved again last night that the must be counted with
the best
barytones we have heard this w inter. He sang a »Minstrel’s-
Prayer«,by F. A. Reissiger. His beautiful, virile singing is imbued with
the dee pest sentiment, and it was right that the audience should insist
on hearing him again. Olaf Holboll sang a folk song by P. E. Lange-
Miiller; he, too, had to give an encore. The singing of the solo-quartet
found, however, the greatest measure of appreciation; two encores were
granted by them and still the audience demanded more. . . .
A d o l f B v u n e .
I
C h ic a g o D a i ly T r ib u n e
skriver
G len n D illa r d Gu n n :
The chorus attains a unity and beauty of tone that can only
result when the severest ideals of ensemble obtain. This tone m ain
tains its expressiveness and sympathy through all dynamic inflec
tions, and these im portant interpretative means are developed w ith
a flexibility and responsiveness almost orchestral. Especially effec
tive is the nuance of the sudden crescendo which Conductor Levy-
sohn frequently employs in the closing cadence, quite in the o r
chestral manner. The mezza voce effects were no less adm irable. Between
these two poles the perform ance moved with a precision that accomplished
wide variety of effect, yet retained the feeling of spontaneity and of
genuine pleasure in song that is fundamental in all simpler forms of art.
The program was devoted to Scandinavian composers, Denmark,
Norway and Sweden being impartially represented. Remarkable fo r
its delicate pianissimo was the Danish folksong, »Agnete and the Mer
man.« It had to be repeated. The audience found sim ilar pleasure in