GRAND OPERA.

Auckland Star, Volume XLVIII, Issue 8, 9 January 1917, Page 7

GRAND OPERA.

BIZET'S "CARMEN." The premier presentation of Bizet's famous opera "Carmen," adapted from' Prosper Mevimee's romance of the same name, by the Gonsalez Grand Opera Company, attracted a large attendance in His Majesty's Theatre last evening. A meritorious performance was secured of ( the opera, the principal parts were in , competent hands, and generally the orchestration and chorus presented ac- , ceptable readings of the delightful music, whilst the staging was appropriate and tihe lighting entirely satisfactory. After each act the artists were called back several times, and during the scenes encore* were demanded and occasionally , grantW, whilst at the close of the opera a warm double ovation was accorded the principal characters. Tile opera of "Carmen' is founded upon a well-known story by the French author Prosper Merimee. The libretto was written by the celebrated playwrights Meilhac and Halevy. The composer of the music, Georges Bizet, is a native of Paris, and although he wrote several I operas and orchestral pieces he was not generally accepted as a creator of exceptional ability until after the production of "Carmen," -which was given in • March, 1875. at the Opera Comique, Paris. At that time it is related that the French considered the story a little too bold for their refined tastes, and it did not receive the reception the work has since achieved, whilst the author was accused of following methods and styles peculiar to Wagner at a time when all France, as at .present, was opposed to anything Germanic. It -was also suggested tlhat the gipsy melodies and the Spanish themes he introduced were not authentic. However, no other writer lias succeeded in producing a more effective arrangement of a Spanish subject, and . it takes a born Spaniard to recognise the • extremely delicate nuances that distinguish the real native article from the clever foreign imitation. Bizet is 6aid to have died heart-broken over what he considered the failure of his greatest effort. In England the work was produced in 1878, and from then onwards the opera has become one of the most popular in the modern repertory. The scene is laid in Seville, the time IS2O, and the four most important impersonations are Carmen (a passionate Gipsy girl), Don Jose (a 6oldier), Micaela (a country damsel betrothed to the latter), and Escamillo (the bull-fighter). The opera is replete with delicious themes, vivid' orchestration, and dramatic and picturesque situations. The scenas which have contributed mostly to its success j are the 'Haranise Amor," a quaint song in waltz time, the melody being that of , an old Spanish song by Tradierf tihe i serious duo "Mia Madre," the Seguidilla "Pressio il Bastion," and the stirring and ; dramatic aria, "Toreador Allento." ' Signorina Russ, the exponent of the title role, made a great success both dramatically and vocally in her representation of the light-hearted, irresponsible Spanish coquette. She exhibited the necessary characteristics of voice which arc needed for the play of the varied moods. In the earlier scenes she was insinuating, alluring, and gay, acting and singing with marked distinction, and in the card situation and the final encounter with the infuriated Don Jose she rose to the dramatic (heights the situation demanded. The cantutrice sang with vivacity and charm "Love will like a wild birdling," gave a light and defiant performance of "Close by the Ramparts," an artful and coquettish reading of

"When Love Unfurls," caught with marvellous instinct and truth the peculiarities of the Spanislh type in her interpretation of "Now I will dance," and the defiant devilry of the wayward gipsy in "No thou dost not love mc." She sang and acted forcibly in the scena "I love him!" declaring angrily and with intense passion her love for Escamillo, and exclaimed with intense emphasis, desperation, and .power "Free she was born and free shall die."

Signor Capelli's impersonation of Don Jose was a capital one. He 6ang his scenas and recitatives with telling effect, acted and sang with the necessary restraint, in the earlier scenes showing a most casual interest in the factory girl, but when his love wns awakened he gradually became infatuated, and thrilled the nudtence by the intensity and emotional style of his performance. Most affecting was his delivery, with Micaela, of the duo "Speak to mc," and expressively sung was "Have no fears, dear mother." A vigorous performance was that of "Carmen, 'tis the retreat," and very dramatic and energetic was the reading of "To depart," and an imploring and tender appeal -was made in "No Menace," whilst a great delivery was secured with Carmen in the duo "In vain thou say'st."

The Escamillo of Signor Scamuzzi was an altogether ideal one. His remarkably fine baritone was heard to distinct advantage in "The Toreador Song," "My name is Escamillo," "Onward, permit mc," and "If thod lov'st."

Signorina Visoni's delineation of Micaela was refined and delicate. She sang very tastefully and pathetically "We had quitted the church," gave a devotional and expressive delivery of "And protect mc, gracious Heaven!" and a delicate rendering of "There is a Cottage." Sknor G. Gonsalez conducted, and M. S. de Tarczynski led the orchestra. To-night Ambroise Thomas' fine opera "Mignon" will be staged.