Fine Performance By Opera Company

Press, Volume CVI, Issue 31144, 22 August 1966, Page 14

Fine Performance By Opera Company

The New Zealand Opera Company opened its New Zealand tour of Johann Strauss’s “Die Fledermaus” in the Theatre Royal on Saturday evening. The performance was a first-class success, and the company deserves a record tour with it. The sets and costumes, used in association with the Australian Elizabethan Theatre Trust, are magnificent and thrilling to the eye. Colours have been used with consummate taste and enchanting effect. The revolving stage-set in the second act, always an effective gimmick, gives contrast between the ballroom of the Orlofsky Palace and the smaller reception rooms; and this scenery, among so many other good things in the production, calls for special commendation. The producer, Richard Campion, has done sterling work and has used his stage

and performers with subtlety, avoiding crowding—often a fault in previous productions —and bringing the simple story of a practical joke played against a practical joker naturally to life. Nothing of the humour of the work is lost, and the libretto has been splendidly translated. While the words were not entirely clear, nothing of import to the story was lost. Robert Feist, the musical director, is to be congratulated upon his most able and refined conducting which kept everything moving at aptly chosen tempi, drew from the efficient orchestra most pleasing sounds in admirable precision, and kept balance among all forces at every moment of the show. The colour and restraint from the woodwind and brass were appreciated, and, although a larger body of strings would have been desirable, there was a fullness of tone. The overture could do with a bit more rehearsal, but, when the work settled down, the playing of the orchestra attracted very favourable attention indeed. The chorus singers, trained by Mr Harry Brussey. gave crisp precision and also a timbre well suited to the brilliance and gaiety of Strauss'S music.

The acting of the principal characters impressed more than their singing did, for there was not much in the latter to draw anyone to the edge of his seat, but the music does not give much chance for that; and it must be said that the singing was at all times thoroughly competent if it gave few thrills. Paul Person’s voice was attractive in its rich timbre: Angela Shaw’s singing was well adapted to the nature of the music, and had excellent flexibility; the full rounded beauty and power of Heather Begg’s voice had little chance of being heard in this opera, but her fine control was evident: Boyd Gavin and Peter Grant both sang with light and clear tenor voices which were never extended; and Victoria Elliott’s mezzo-sop-rano voice was always rich in timbre and under splendid control in expression, in changes of colour in graceful shaping of phrasing an<j in dramatic effect. All these people acted their parts naturally and with convincing smoothness of character. In addition to those mentioned, Graeme Gorton gave an amusing performance as the governor of the prison and sang what was required of him with clarity and resonance. Grahame Clifford was a most entertaining gaoler whose tipsy antics were alone worth the price of admission, and George Partos, as the major-domo, was a toughlooking character out of a James Bond novel, who appeared ready at any moment to slay six with his staff at the wink of an eyelid. Although this simple tale was set to simple music nearly 100 years ago, it still has remarkably fresh attraction. We have become so accustomed to finding in opera and in literature that realism is conveyed by concentration on what is sordid—and there is plenty of that material around us on which to draw. In this story and in its music we have sparkling wine and a merry heart It is typical of Vienna—the city of its origin and of its setting—which, God knows, has had its share of the engulfing floods of tragedy. But that city has ever been careful to see that the water did not get into its wine; and in this production the New Zealand Opera Company has kept every effervescing bubble bursting th« surface with happy and welcoming eclat.