GRAND OPERA

Press, Volume LXXXV, Issue 25784, 21 April 1949, Page 6

GRAND OPERA

SEASON * OPENS IN CHRISTCHURCH IMPRESSIVE PERFORMANCE OF TOSCA If all the other performances in the Grand Opera season are of the same high standard as that given last night, then this season will long be remembered with great pleasure. For the opening performance the ■ Theatre Royal was filled by a very enthusiastic audience. Quite apart from the music, Tosca, especially in the second act, is a powerful play, and calls for acting ability on a high level. Mercedes Fortunati, who took the title role, has first-rate dramatic talents and was always most impressive. She used the full range of her powers without ever over-straining for an effect. Unlike some great singers her appearance is in keeping with her role and her performance was always convincing. Her voice is rich and powerful, and her musicianly skill is on a par with her stare craft. Mario Basiola, as Baron Scarpia, dominated the performance—as he was intended to do—and there is no doubt that he is a magnificent Scarpia. He has a resonant baritone voice, superbly controlled, and his performance was marked by great artistry. Although Scarpia is as unpleasant a character as can be found in the usual run- of operas, one regretted his well deserved departure from the story on the end of a stiletto. His work and that of Mercedes Fortunati made the second act—the great act of this opera—a most thrilling and intense experience. Alvinio Misciano was also well cast for the.part of the unfortunate Cavaradossi. He has a fine tenor voice of true quality, well produced except on the few occasions when it was necessary for him to use undue power to rise above the orchestra. The last act gave him his best chances, and he took full advantage of them, although his acting in the second act was well up to the standard set by the others. The last act of Tosca can fall away badly, but it did not do so this time and much of its success was due to Misciano both for his singing and acting. In place of Signor Ghione, who is indisposed, Signor Wollf-Ferrari was the conductor. He directed the whole performance with great skill and showed fine insight into Puccini’s scoring. The orchestra is called upon to create a very wide range of emotion and, for the most part, did it well. They are not yet used to the acoustics of the Theatre Royal and there were times when they were unnecessarily heavy. A tendency for the brass to give a blatant tone will need to be corrected.

One cannot praise too highly the magnificence of the stage settings and the excellence of the lighting effects. The stage director is Signor Bruno Nofri, and he is quite obviously a man of outstanding talent. There is very little use made of the chorus in this opera, but the off-stage singing of the cantata in the second act was very beautifully done. Augusto Romani as Angelotti, and Carlo Badioli as the Sacristan, contributed to the success of the first act. —C.F.B.