"CARMEN."

Auckland Star, Volume LXIII, Issue 240, 10 October 1932, Page 3

"CARMEN."

A FINE PRODUCTION.

CASTAGNA AND MIRASSOU

TWO WONDERFUL PERFORMANCES.

Many of those who saw the fine production of Bizet's popular opera given on Saturday evening by the WilliamsonImperial Grand Opera Company, in His Majesty's Theatre, would be greatly surprised to learn that, at its first (production at the Opera Comique, on March 13, 1875 Carmen " was a failure—a failure that was also a tragedy, for its composer, utterly depressed and discouraged, died exactly three months after its pioduction, and before he could have as much as an inkling of the world-wide success that '• Carmen " was to obtain. Since then it has become one of the most populai operas, and as highly esteemed by musicians as by the public, lhe leason for this is not far to seek. It has an admir able libretto, the scenes are so vrndlj presented that anyone could io low the plot without hearing the words, the music is very bright and tuneful, and the stage settings and costumes are most P'ctui" esque. In Saturday nights presentation some great expectations were more than realised, and there were few minor disalNelnei°befoi'e have we seen here, in this opera, such a wonderful Carmen and such an outstanding Don Jose. Nor have we seen such magnificent stage settings, vivid colourings and costuming on an Auckland stage. Added to this was an exceptionally efficient orchestra and a vocally strong chorus. The minor disappointments weie that Apollo Granforte was unable to appear, owing to his having contracted a slight chill, and that the cast of subsidiary characters was rather weak, however, Ilio del Cliiaro made a satisfactory sub stitute for Signor Granforte, as Escamillo, and' the work of Bruno Castagna and Pedro Mirassou was so satisfying that one could afford to overlook any shortcomings in the lesser roles. . . . There can be no gainsaying that in Bruna Castagna the company has a really great and versatile artist. In il liovatore " we saw her as the tragic and revengeful gipsy. On Saturday evening nv e saw,- in contrast, another gipsy characterisation, that of the charming and fascinating " vamp" of Bizet's opera. At ner first appearance on Saturday night, as she slowly danced the rhythmic " Habanera and sang the tantalising " Love is a uipsy Boy," we saw the typical Carmen (by the way, has anybody ever seen a sum " Carmen"?), a gipsy girl, passionate, yet tickle, quick to love and quick to tire. Next, following in succession, her vamping " of Don Jose, her arrest, and her mocking the captain as she sings gaily " Tra la la, tra l<k. la"; her singing of the alluring " Seguidilla," in dance rhythm; and then, in the second act, " Ah, When of Gay Guitars the Sound," sung to the accompaniment of her clicking castanets, the arrival of Escamillo, the famous bullfighter, who makes a great impression on her. In Act 111. we saw her dark fatalism in the famous " Card Scene, where she reflects upon the uselessness of striving against her dreaded enemy, " Spades"; wonderfully has Bizet deipicted the episode in music. Lastly we heard her in the fourth act singing with Escamillo, the beautiful and animated duet, " If You Love Me, Carmen," and, after that, the great scene with the rejected Don Jose, in which we witnessed, spellbound, the subtle gradual growth of the long crescendo to the climax of the tragedy—the slow change from his despair, and her contempt, to blind rage and equally blind fear —splendidly depicted. In all of these scenes Bruna Castagna displayed consummate artistry, using every feminine wile, the play of her eyes, the witchery of her voice, the grace of her movements. She dominated the character with her charm, diablerie, and vocal art. In describing the performance of Pedro Mirassou as Don Jose it is hard to refrain from using superlatives. His acting alone would be sufficient to stamp him as a great artist. Throughout the evening he was always natural and graceful. He lias a fine dramatic tenor voice, and his singing of the pathetic " Flower Song " was most thrilling. Particularly fine was his acting in the final scene in the last act, where, roused to a despairing frenzy, he stabs Carmen. Ilio del Cliiaro made- a very handsome and debonair Escamillo. In the rousing " Toreador " song, sung with an equally rousing chorus and refrain, his voice may not have harmonised with the balance of the ensemble,' but his appearance and acting were quite in tune with his environment. The life and abandon of this vivacious scene makes one realise that the baritone who essays to sing this song in evening dress and the lifeless atmosphere of the concert platform, is starting well behind scratch. Zunigo was in the safe hands of that versatile artist Michele Fiore. The part of Micaela is but a slight one; at the same time it includes what has been described as " the most effective and beautiful number in the whole work," " I Try Not to Own That I Tremble." It was therefore somewhat disappointing that Miss Violet Rogers, who took this, did not appear on the night's performance, to be fully vocally equipped for the [part. The same, however, might be said of the other minor characters, and it may be perhaps that the excellence of the two leading characters over-emphasised the vocal deficiencies of the others. The chorus was really splendid. Not only was the singing good, but there was a striking measure of vivacity and " go " throughout the whole performance. " Carmen " is splendidly orchestrated, and the work of the orchestra is worthy of the highest praise, and especially that of the wood-wind section. Signor Wando Aldrovandi, who made his first appearance as conductor, directed with much taste and ability. The stage settings were above reproach, that of Lilas Pastia's Tavern, in the second act, being particularly fine, whilst the bright dresses and costumes made the stage a riot of colour. Everything seemed to combine to make the whole production one which should be remembered for many years to come.