MAESTRO EMILIO CASOLARI.

Press, Volume LIX, Issue 17690, 16 February 1923, Page 11

MAESTRO EMILIO CASOLARI.

CONDUCTOR OP SISTINE SOLOISTS, Emilio Casolari, conductor and accompanist of the Sistine soloists, ia a Koman by birth, dewKttit, and, culture/ He was educated at banta Cecilia, that great Koman school of musio, and t*day hejs the principal teacher m that conservatoire, fae is also choral master at the "Augusteo," the city hall of Rome, and occupies the same position at the Costanzi Opera House. In, the latter capacity all the great musicm works, singers ot importance and conductors and musicians have come iua way Judged by the knowledge he displayed of tut leading conductors uud nius.cuns oi Europe .in au uueiview a Duneain -r ctar" representative uad with the maestio, biguor O&iioiari is soiueiuing more ttian has been realised, In me iigJu-nearied manner of his countrymen, j, e waiued inio the room ail snmes and gestures. "Ah!" said, the maeetro, throwing himself on the sofa.and fliu s iiijj up his arms, "let me tell you of i\ew first. It is £he tuicst little country I have visited, and so like my own ltaiy—valUy, hihs, rivers, mountains snow-clad, and volcanoes. Marvellous place Hoionia; never saw anything like it. Woaderfml When my old .father heard I was including New Zealand in tho tour he exclaimed: "Oh,-thai the cannibal land; skin and eat you there, my Emilio I' But" —and me maestro nmae a. sii-niiiuant gesture and laughed hearti'y—'.'what did we find/" A beautiful, civilised country, a. kind and appreciative people, and. order, harmony, ana peace .everywhere. ' In the north we saw many Maoris. They delighted rs, and we delighted them. Very,'very few in Italy know tnat New Zealand is such n delightful place —?nch a happy and comfort-bfo country. It has completely surprised every one of us." Questioned as regards hie soloists iwhom he term.id "my boys"), -Ssgnor Casolari said they all served as officers m the Great War. Signor Facchini and Signor Sarti were severely wounded, arti in the neck. They were all still attached to tho famous Sistine Choir, which at Papal functions wae made rip of 120 voices. Their positions in the choir w*ra purely honorary; but in addition they were- professional operatic singeie. As such, individually, and at various" tunes, they had toured all the countries of Kurope from Paris to Petrogiad and from Stockholm to Madrid. Several of them had visited the British Isles Si Italian opera.- In spite of thcif duties as honorary and professional singers, they had their ordinary avocations in life—teachers, professors, lawyers, and 1 commercial men. For instance, Signor Paeinati is a lawyer; Romana Raeponi, 'the second Scandiani," the rage of all the opera houses of Italy, is an auditor and accountant. "I co'ild not have more capable singers than all my Eoloists—Felice Belli, the buss baritone; Irnerio Conatantini, - who has sung all over Germany and Russia; Bwujo Sparti, who teems with expression, and Faganelli, the. pride of Roman musical festivals. Then there is Signor Gatti, a strong choral tenor, and' the splendid trio that would gladden any master'a Facchini, Belli, and Rasponi. "Many people were disappointed at the absence of Signor Mass'oghaS He had a reputation a-s a emger of Frenoh chansons," the reporter remarked. , "Yes," replied the maestro, "Maesoglia had a wonderful knowledge of the classical and folk-lore songs of Fiance. He had to return to Italy for family reasons. " Questioned as to the differences that existed between choral renderings' here and ia Italv, Signor Casolari said Italian music masters went in for the closest interpretations. "Martha," for instance, should be treated slowly. Paganelli's ainging of "M'appari Tutt'amor" was the absolutely correct operatic nrSthod eo far as Italy went.' ' "And' that should foe sufficient for us, remarked the interviewer. "Italy leads the operatic world, does she notj?" ,' .f "Tihat is so," replied ihe signor, "and -we .have been there for a! considerable time; biit customs wi|l always vary nevertheless. In, countries whero ljsht music oE the vaudeville and musical comedy type predominate, a thing thit 'is hardly -miww at all, fieroio music of the Palestrina age.and grand opera are bound to suffer\froro comprehension, study, and Inspiration. ' Such light music, like the average novel, slays many musical minds (that worW be great) in their infancy/- For classical and operatio music the ear and the mind renivire incessant culture. The popular mind, must geV impregnated with the best in all branches of art if-art is< to develop at all. Anything shoddy poisons , and creates a morbid and false taste. New Zealand is a young country, and should at once set to and develop a high standard of musical taste. Good teachers are necessary for this, and . well-directed orchestras 1 . Somebody like Henri Verbrugghen, on someone approaching him even, is required in this young country to foster a fine/taste. -Verbrugghen was a Very great musician. New. Zealand is,. a young country, stilLvery young, and nearly as sunny as Italy. There is an opportunity here for the creation of great art that should have some wonderful results peculiarly its own in the oourse of time. Judged by,„ 5 the very successful and appreciative audiences I have had.l should say the people are .all fond of music. Then whv not give them the .best and! maintain it? After a "wibile it will maintain, itself. Here is a great opportunity for the Government and city councils. Music is not a luxury; it is vital for the life and culture of a people. Qood teachers and great patterns are required for a secure groundwork : ."One thing," added Maestro Casolari in pftrtingv '»*> not tefß ß * to say. Tell the New Zealand people that w« thank them, and 'shall "never forget out happy experiences 'among' them."