GRAND OPERA.

Press, Volume LXIV, Issue 19363, 16 July 1928, Page 6

GRAND OPERA.

FULLER-GONSALEZ COMPANY.

A SPLENDID OPENING

The New Opera House, on Saturday night at the opening of the Grand Opera season by the Fuller-Gonsalez Company, had every available seat occupied. Indeed, the manager gleefully regretted that so many had to be turned away. As an advertisement this could not be surpassed. The great audience waited impatiently for the first notes of the Introduction, the ominous drums. The libretto of "II Trovatore" embodies a lurid picture of hate, love, blood, poison, and devouring flames. Manrico, the troubadour, alone among the chief actors, is not obsessed, by a passion to kill; like Azucena, th*e gipsy woman out to revenge tho burning of her mother, or the Count di Luna to remove an unwelcome rival for the affections of Leonora, who in turn seeks a solution of her dilemma in poison. Another thrill, modified by the Italian language so few know anything.about, consists in the ultimate discovery that the troubadour, whose death he contrives to effect, is in reality Count di Luna s brother, a secret withheld to the last moment by the gipsy woman, who rescued him unwittingly from the fire instead of her own baby. These explanatory remarks should be ample for this tortuous story enacted in the fifteenth century, a period that may mitigate to our senses the ferocity, of the overcharged plot, fcjen so there breaks upon the hearer the stream of melody characteristic or Verdi's art. mellowing, beautifying, and alluring'melody. It is unjust to depreciate in our days the value and trend of the works of the great Italian masters, Rossini, Bellini, Donizetti, and Verdi'. New ideas in construction of opera have certainly superseded their methods of operatic expression, the modem development or the orchestra to new power and efficiency was denied them, but at least thev may claim to have made a whole nation eing, to have carried their song for generations all over the wide world with music appealing up to our dav to the masses, and incidentally to have rendered a great service to vocal •a'rt For their ornamental devices required the highest mastery of the throat, exacting a training almost as severe as that of an instrumentalist virtuoso. All that phenomenal brilliance of vocal execution, as exemplified in singers like Patti, has been inspired by this great Itahan school. Artificial often these roulades and trills may sound, but delightful at all times to hear, and, in a way, their absence in modern opera is regrettable. The need for exceptional skil is reduced as the more old-fashioned works lose their popularity. Modern opera rarely resorts to elaborate decorative designs. And Verdi's latent works, like "Aida" and "Othello," very fine and up to modern standards, never attained the popularity of the earlier. Coming to the production of U Trovatore" by the Fuller-Gonsalez Company on Saturday, the verdict in their favour must be decidedly eulogistic, as it should be if this costliest of theatrical enterprises is to be carried successfully through their season. The object of operatic art, still largely misunderstood on English soil, is to present a drama competently filled m every part by well-schooled and sympathetic actor-singers, not necessarily of the "star" brand who. as often" not, are entirely indifferent to tne work as a whole Consciously or not, this principle has been adopted by our visitors. None of the is unsuited for his or her part, and J**P.™" cipals are accomplished singers, f cumins a very "good ensemble.With a narrative of the gruesome past Signor Ernesto Fmnagalli introduces himself effectively .as Ferando, the Count's captain, making the most of a full-toned bass voice. Then enters Count di Luna, in the person ot Signor Franco Izal, who is entitled to admiration from, every point ot view, his rich, resonant organ well used, his stately bearing and spirited action. An experienced singer is bignora Rosita Sylvestri, who made her best impression in the dramatic scene where she pleads for her lover's life at the sacrifice of her own and m the affecting "Miserere" part. He, her lover, Manrico, finds in Signor Alessandro Rota ah excellent representative, gifted with a fine ringing tenor voice, fully under control, and ardent as a lover. He deserves credit for his refusal to comply with a recall in the prison scene, where he is supposed to be behind prison bars The days when in drama a man was killed one minute and reappeared the next, bowing and scraping, are fortunately rare nowadays. His voice, however, travelled well and effectively through the prison bars. Singing well and temporamentally strongly in the part of Azucena, Signora Nina Algozzino .disclosed herself as a consummate actress whose every gesture is natural and of impassioned force. In the duet when, awaiting death at the stake, she croons the well-known air, "Home To Our Mountains," she moves one deeply. By the way, the feeble reflection of the flames visible at the end, that are to be her doom, suggests the grilling of her supper rather than their sinister object. The smaller parts of Inez, by Signora Matilda Pfrimmer, and Ruiz by Signor C. Gislon were in good hands. The concerted numbers are well studied, blended skilfully and harmoniously. The chorus of the company deserves fair praise, for accuracy in intonation and tone volume in accord with their personnel. Their best numbers were those sung behind the stage, both in the chorus of the nuns and by the men in the prison scene. Although Signor Ernesto Gonsalez wielded the conductor's baton with vigour and circumspection, the orchestra represents perhaps the weakest part of the organisation, emphasised rather by the. simplicity of the orchestration that tends to expose the weaknesses. Dresses were rich and appropriate and the stage setting very good and tasteful in every scene. The noticeable defects of the performance are to be charged to a higher degree against -general Italian practices in opera than to individual singers: like the hurricanes of passion sweeping without relief of tonal intensity and relentlessly over whole scenes or even acts, tending also not infrequently to vocal excess of the singers Is not contrast of colour the spice of music? Of course the foreign language, unintelligible to the majority, is no small stumbling block. But the gathered impressions of the whole work stamp the performance of "II Trovatore" by the Fuller-Gonsalez Company as one to be generously praised, and entitling them to confidence and.support of the public right through their season.

«LA TRAVIATA" THIS EVENING,

Verdi's "La Traviata," which will be presented by the Fuller-Gonsalez Company this evening, !b based on a well-known play by Alexandre Dumas, "La Danio jux Camelias," familiar in its dramatic form as "Camille." It is one of the most beautiful works of its"class, and is full of lovely melodies while the story of the unfortunate Violetta has caused many tears to be shed by sympathetic listeners. . The cast of principals for this evening s performance will introduce very fine, artists who did not appear m "II Trovatore -* on Saturday evening; The Principal role In the opera. Violetta Valery, will be interpreted bv Bienorins Poletta, a coloratura soprano of creat range and flexibility, who combines in a remarkable degree sweetnesß wrth power. Histrionically she has great gifts, and her acting is thoroughly in accord with the part she plays. Her rendering of the famous "A i ore 8 lui" is "id *° be a revelation.

Tho principal tenor role will be taken by Signor Vannucci, who appears as Alfred Germont, lover of Violetta. Vannucci has made, a great name for himself in this part, and an exceptionally fine presentation of the role can be looked for. Signor Scamuzzi, who appears in the role of Giorgio Germont, father o£ Alfred, is a baritone of exceptional power. His character study of Germont pere is a splendid one, and never fails to make hiim a host of friends at each performance. The other principals in tho cast, each of whom is an artist of the first rank, are as follows: — Flora, friend of Violetta, Signorina Mazza, mezzo-Boprano; Annina, confidante of Violetta, Signorina Matilda Pfrimmer, soprano; Gastone, a viscount, Signor Gilardi, tenor; Baron Duophol, a rival of Alfred, Signor C. Gislon, tenor; Dr. Grenvil, a physician, Signor Al : fierir tenor. - .... The plot of "La Traviata," being quite familiar, need be but briefly sketched. Violetta, a courtesan of Paris, is holding a brilliant revel in her home. Among the guests is a young man from Provence, Alfred, who is in love with Violetta. After much persuasion the spoiled beauty agrees to leave her gay life and retire with him to ft humble apartment near Paris. After a few brief months of happiness, the loverß are discovered by Alfred's father, who pleads with Violetta to release his son from his promise. She yields for his sake, and resumes her former life in Paris. Alfred, not knowing the real cause of her desertion, seeks her, and, when he finds her, publicly insults her. Too late he discovers the sacrifice Violetta has made, and when he returns, full of remorse, he finds her dying of, consumption, and she expires in hie arms. To-morrow evening's opera will be oounod's "Faust," with Donizetti's Lucia di Lammermoor," to follow on Wednesday even- '" Seats are still available for the various operas to be produced during this week, and reservations may be made at The Bristol.