"LA BOHEME."

Dominion, Volume 3, Issue 827, 27 May 1910, Page 8

"LA BOHEME."

» — WILLIAMSON'S GRAND OPERA CO. MARIA, PAMPARI APPEARS. "La Boheme," a grand opera in four acts, by tiiacomo Puccini. Cast:— Eudolph (a poet) ; Jolin Zerga Schaunard la Musician) ... Arthur Crane Benoit (a Landlord) ... Fergusson Allan Parpignol (a Toy Merchant) , Edward Wynn . Jlarcel (a Painter) Antonio Zanelll Colline (a Philosopher) ... Orme Darvall Aleindoro Kufus I'ersusson Custom House Sergeant Clifford O'Keefe Itusetta Mabel Batchelor Mimi Maria Pamparl "La Bohemo," the opera with which Giacomd Puccini leaped into high fame : as a composer of grand opera fourteen years ago, was introduced to Wellington last evening by Williamson's Grand Opera Company, and made a deep and immediate impression on lovers of music of an exalted character. Whilst the spirit of inspired melody which permeates the old operas of Verdi, Balfe, Rossini, and such writers will aln-ays live, the genius of such composers of Wagner, Puccini, and latest of.all Richard Strauss is beginning to make them seem somewhat passe now. Wagner, greatest of all, led the way in divining the psychology of orchestral music, and though lie earned for his pains the crown of a crank, and was neglected for years as impossible, his influence on • modern music and, in particular, modern opera, has long since been recognised. It is apparent to any student in every Puccini score, but the Italian maestro, whilst triumphing in allying real mean- • ing and harmonic sound, has the gift ; of Latin lucidity and directness, and 1 consequently excludes the obscurity and 1 colossal weight which Wagner employed with such power. In "Madam ' Butterfly," composed seven or eight ■ years later than i "La Boheme," wo : have tho weaving and interweaving of [ motifs brought to perfection. In a lesser degree it exists in the opera performed last evening, though hardly with the same clarity or entrancing effect. hike "Madam Butterfly," Puccini once more illuminates an incident of the utmost triviality with splendid genius, and,, whilst stating that as tho case, one cdnnot but admire his wonderful colour sense, and instinct for dramatic contrast. "La Boheme" might be said to do a page from tho memoirs of any student of tho Latin quarter in Paris of half a century ago. There are Rudolph the poet, Schaunard ■ the musician, Marcel the artist, and Colline tho philosopher, all starving merrily in frozen Paris. They are so cold that, it has como down to burning Rudolph's tragedy. Fortune temporarily turns with the musicians who return to the sky-high garrett, and then depart cafewards, to revive their faith in humanity and themselves, leaving Rudolph to finish an article on order. Hardly have they gone when Mimi, a poor workgirl, knocks at the door to obtain a light for her caudle, and in a beautiful scene, idealised by a rivulet of purest melody, they tell the tale of their condition and position, and in the end Rudolph makes love to Mimi, wins it easily, and off the merry pair go to join tho others «t the cafe. 'What a glorious, riot of colour and joyous music exists in that bright second act. Here, too. Marcel meets and is reconciled to his old inamorata Musette; an itinerant toy-man ambles on, hailed with jest and song by a motley crowd or men, women, and children, and finally the pomp and circumstance or war is .flam .buoyantly suggested by the passing of a detachment of soldiery, headed by a band, which martial theme is used to terminate the act. In the third act Rudolph tires of Mirai, who has developed consumption, and she becoming proud in the knowledge of his indifference resolves to break off the affair, though love is .strong in them both. Finally—the garrett scene once more. Mimi is brought in dying, and, after .1 tenderly-pathetic scene of much musical worth, passes away with a shudder, to tho" intense horror of the little Bohemian hand. In "La Boheme" the vocal honours ?«= rao™ evenly distributed than in Madam Butterfly," though naturally the score favours Rudolf and Mimi, the chief m .the brief scent. The produc-tion-was made notable by the first appearance in Wellington of Signorina Maria Pampan, as Mimi. It was in all respects a fine performance for so young a priina donna. Equipped with a strong vibrant soprano, that can ue attuned to every mood, and dramatic instinct of no ordinary character Signorina Pampari gave a quiet but deeply impressive interpretation of a most difficult role. In this she was assisted by a personality most pleasing —calmly amiable, with a reassuring reserve forgo always sugaested, to which a certain piquancy was added in her pronounced Italian accent. She sang the music with finish and distinction, and the white oval of her face was a mirror- of Mimi's emotions. Nothing could bo simpler and more maidenly graceful than her manner of. singing her first . big solo—"They. Call-Me Mimi," in which she describes her : humble lot— ' "A Rose as her petals are opening Do I tenderly cherish; Ah! what charm lies for me in her fragrance. Alas! those flowers I make,, the.flowers I fashion, Alas, they have no perfume." Her work in the second act is disjointed, but in the third, she has the beautiful farewell duet with Rudolf, ending in ; "Our time for parting's when the roses • blow," in which florid number Signorina thoroughly established herself as a ; vocal artist of high rank. She rose to , high dramatic heights, too, in the death scene, where the tired little flowermaker flutters and struggles for life, and : shudders from life. i Mr. John Zerga made a satisfactory, if not an ideal, Rudolf. His tinibrous : voice is an acquired taste, but it is fully sympathetic, and does riot fray out in the upper register as such voices are wont to do. His singing. of the solo, "You're Tiny Hand is Frozen," was one of his best numbers. His acting has all tho extravagant fervour of , tho Latin, but was quite iii accord with the character and atmosphere of the i opera. Signor Zanelli, who made his first appearance . in Wellington, must be credited with a fine performance. ' His Marcel was a boisterously-picture-sque character, played with a fine Bohemian air and a pleasant touch of humour. His voice is a rich baritone, the effectiveness of which- is weakened by an excessive vibrato. With Mr. Zerga he was excellent in the "bonnet" duet, which was splendidly acted > by both. Mr. Arthur Crane was Schaunard the Musician, and Mr. Orme Dar- ' vail figured as Colline, the philosopher. Puccini's freakish humour is well illustrated by a really fine solo, written to be sung by, this character—an ape-s----trophe to a cnat he is about to .pawn; ■ by buy medicine for Mimi. Miss Sialic! ■ Batchclor made a bright little Miss • Musotta, and sang tho charming waltz ! song of the second act and the prayer at the end very attractively. Once' more Signor Hazon's magnifi- . cent orchestra delighted tho audience with its fine work. The score' is a most difficult one, but it was equal to every daring intricacy that Puccini has devised so cleverly to keep everyone ; at work. The melodies stream in from string, brass, and wood-wind, making an ensemble of musical light and beauty. Of the orchestral oddities that catch the ear one of tlie prottiost is the toy interlude of the. second act, ' where the trumpets, piccolos, and oboe imitate the sounds .of Christmas Eve

with comical truth. A fine effect is attained in the death scene, where the „ bassoons sustain a note for six or eight bars, immoflitely before the culminating'death chord. For such perfection of interpretation much praise is duo to Signor Hazon, who accepted a popular call with the principals at the end of the second act. "MADAM BUTTERFLY" TO-NIGHT. This evening "Madam Butterfly" will be produced again, with Mis? Amy Castles as Oho Cho San, and Mr. Zerga as PiukerLon.' There will only bo one more chance after this of witnessing this brilliant and melodious ■ work. \ To-morrow evening Bizet's "Carmen" will be staged with Mdlle. Be! Sorel in the name part, Signorina .- Maria Pampari as Micbaela, Signor Zanelli as Eseamillo, and Mr. Frederic Blamej as Don Jose. MR. ALFRED HILL TO CONDUCT. On Wednesday next the date fixed tor the final production in Wellington or Madam Butterfly," the manage ment, in conjunction with Signoa • Hazon have arranged that Mr. Alfred iiul, deputy-conductor, shall conSuct the opera, an honour Mr. Hill thoroughly deserves in. this, his native town. The Wellington musician's enthusiasm for Puccini's works cannot be measured in mere words, and bavin" made the closest analytical study of tho work, his advent as conductor of bignor Hazon's fine band will be ea& erly anticipated by the musical. Dr. W. Kington Fyffe writes:—"May 1, through your columns, make an appeal to the Wellington public? In the ntteen years that I have lived here we havo never had such opera as we are at present enjoying. The orchestra, conductor, and singers are above reproach. Is it then too much to ask the audience not to talk' whilst the opera is in action, and, above all, not to talk whilst the orchestra is playing during the introductions to the several acts? I have been present every night but one since the opera began, and on this night (the 24th) the' talking nuisance was worse than on either of the preceding. Surely the least our public can do, if they have the slightest knowledge of what good music is" is to show'their appreciation by remaining silent. I regret to say that it is in the dress circle that the nuisance is most rife. _It was almost impossible to hear the magnificent introduction to ■ the third act of "Butterfly" last night by reason of the buzz of conversation. Cannot Wellington try and emulate Bayreuth? At the first note of the ■ orchestra there is dead silence, which is never broken to the.end of the act.' We do not go to the opera to gossip, but to hear good music. Puccini's music ia tho last word in opera. Can we not give our homage to one of the great masters of tho age by at least not talkiug when 'we are listening to such a masterly interpretation as is now being put before us?