*** Let's face it. Whenever Marcelle Clamens sings, it is a given that the occasion will be special, but her Fringe Festival recital at City Hall last weekend was exceptional. In a glorious outpouring of her talent, she gave her audience a night to remember.

Singing a challenging programme largely chosen by her voice teacher, Dr. Gary Burgess, who is working to enhance her lower register, the versatile soprano in turn entranced and enchanted as she worked her way through lieder , excerpts from the opera, and Negro spirituals.

Making her entrance in a stunning black velvet and white taffeta evening gown, Mrs. Clamens first offered six lieder by Beethoven -- Dem Grafen Browne gewidmet, Op. 48 -- the execution of which was beautifully wrought.

Singing in German with the clear diction that is an integral part of her stock-in-trade, she thus set the scene for what would become a beguiling showcase of her range, tonal shading, power and versatility.

A second group of lieder, this time by Liszt, followed, again demonstrating just how gifted this performer is. Of the challenges, Oh, Quand je dors (sung in French) was particularly well met, with Mrs. Clamens wrapping her voice around its passages like molten silver before ending on one of her long and magnificent top notes.

Now wearing the gold-embellished gown made especially for her Carnegie Hall appearance by Chris Cole, the artist launched the second half of her programme with four songs by Tchaikovsky: Speak not, O Beloved; Endless Love; Why?, and the ever-popular None but the Lonely Heart , all of which were sung with passion and sensitivity.

Coming, at last, to the genre at which she excels, Mrs. Clamens gave an absolutely thrilling account of her operatic art in excerpts from La Rondine and Cosi Fan Tutti. The sweeping range of her voice, with its magnificent upper register, her mastery and sheer bravura, made this segment an astonishingly beautiful and superlative listening experience.

The singer's personal choice to end her recital with a group of Negro spirituals served as a poignant reminder that, far away from the fantasy world of opera, the genus of this music was rooted in soil so sorrowful that the only recourse for its miserable inhabitants was an unswerving faith in a better life in Heaven.

Thus it was that spirituals like Honour, Honour; Ev'ry Time I feel de Spirit, and Great Day can be sung with such joy and emotion, as Mrs. Clamens did.

As her accompanist throughout, pianist Miss Nikki Herbst was excellent.

One of Marcelle Clamens' greatest assets is her ability to cross the footlights with her personality and draw her audience into her performance.

Blessed with a smile as radiant as her voice, she projects a unique blend of graceful concert artist and typically friendly Bermudian that is immediately appealing and gives her such presence.

In view of her talent and accomplishments (she holds a Bachelor of Music honours degree from the Conservatory of Music at Cincinnati, and has twice sung at Carnegie Hall, among other achievements), it was very disappointing to see so many empty seats. No doubt, bad weather and winter illnesses didn't help, but if the so-called Fringe Festival is to succeed, those responsible must first understand the importance of supporting the artists (who give their services gratis) with an organised and effective advertising campaign.

Nancy Acton Versatile soprano: Marcelle Clamens (foreground) who was accompanied by Nikki Herbst.

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