MUSIC.

Dominion, Volume 5, Issue 1271, 28 October 1911, Page 9

MUSIC.

,} . (By Theulb Clii?J ayencys Opera Season. .. J . jtlst „ ,vcek "" wrotc of Melba and "Faust," the opera in which the great singer mado her reappearance alter her illness. Now 1 propose to give a few impressions of oilier operas and artists which I had tho pleasure of hearing during a recent sojourn m Sydney. _My tirst impression of the Melba Grand Opera Company was in Puccini's "Madame Uutterlly," with Wayda as Clio Clio San, M'Coi-mack as pinkerton, Seandiimi as the Consul, and Miss Kosina Huckman as Suzuki. In this melodious work we have a standard to go upon— set histrionically bv Millie. Bel Sorel, .and, vocally, by ,M;--s Amy Castle?. Wayda comes somewhere between the two. She, being really a Wagnerian soprano, drops the artifices employed so daintily by Ifdlle. Sorel. and. perhaps, for the same reason, she did net express the motherly warmth and pathos vocally which characterised Miss Castles at her best. Still, Wnvda. who is a Polish woman (singing in Italian) gave a really gootl performance on more ro-frninod lines than either of the arli'ls mentioned, and the purity anil breadth of her big soprano was able to dominate even Puccini's overnowf-ring orchestration. John M'Cormack, as Lieutenant Pinkerton. lived the part. If he comes to New Zealand, (ho public will hear a Ivric tenor of the von- fiH: rank, and. withal, n charming His acting in the lir=t act—shade* of Zcr-ra anil ]ihv.vv! 'piir-' two knew nothing of the part. To MTon-ack's Pinkerton, this little ]ovc-b?hn:d-<'!o-shoshi is a joke. It is the ctv Vanbee's first experience of love a la Jnponaise. and lie is tickled to death, and only drops !rs charming jocularity when the 'Pnii7e interferes. Then' follows the iiiiet. i in which the peutenanf's yo-iihful pasI s;nu wes admirably exnrcw.L

S"nnili.i7ii. who plnved the Consul, is ! a tine nrH**. JT P ; s strovg. r-.-netic. has a banker, voice far more penetrating : and nmpeil'Tig than any ether in the company, and h~s the «nw and rewrvn force of the rkiil'-d act'.-,-. T]..i s performance we; nliselnfrlv sn» : sfaeterv. The reb. n r Suzuki was taken bv Miss Pisina Bi-e'-'ian. and was p!av.T with the same artist in end voenl e?:c-llenee ns "■•hen she w, seen in tiie pert in Nev.Zealend bst veer. Indeed he yei-e s»e'-.is bi have beccre rnu?der ard fuller, fer it s'ilT«red not a jot a!on?si'i)e tVavda's in the p-etfv duel. ' When Ko-rl p'eved "P.ntle-n-.-." Pi.i'.-er. t"n ar.re Pr , -.villi (he f-msnl e""r little Millie. Chr F'ee.tlieme has emitted hari-l-.eri. and «b/h over Hie Imdv. Tn the M"elbe nroilnel'inn. the --"o'-e' P;ukevton is heard sh"nliPT "Clio Che San!" :•« he rinhes un the hill, but I he. curtain falls bed,,.,, he rr.eehe= the sle^ "La Tesca." produced for t! R , first time, in Ansirelasia on Thur-day week le<d', was a leiumnh for ell concern-d. Tiie ontslapdirc perf'."'mnne? was that ef Signer Peandiani. ivh»-i> Baron Scaroia was as patent a performance of the ehnrndor n= v-e !, n -„ PTr „. ce» n ,'„ 1!,,-, d r ,„ ln . The ability of the Pomen chief r .f police, the cruel maliTiiity uirVrivath ('he polished exnnisi'jn holding ihe power of life and death, wore sngirpsletl with, the force and reserve power of a rrreal artist, and the mii-ae was snr.T t'auH'e^ly. V-'e.-.-da was tii" La Tosr.", a role in vbiel: she showed I>er v-"'!-. as r- t-.vlc nrli-css and a p?!-'sl;rd drnmafie v--eaijqt. Tn the famous torture scene the intensity of her .-•■•lie.g held (he audience in a slate of high ncrvnnn lensinn. and when r,ho f'nally edges toward- Scnrn-'a's sup-::er-(able. feels for n knife behind her back, ard meelsthe baron's amorous attack with a stab to the heart, was es fine a bit of actimr as has l*'en seen for a long t'me on (lie operatic stage in Australia. John M'Cormack was (he Cavnradossi of the cast. It .was a performance that added considerable respect to the public's estimate of the fenor as nil actor, and the music suited his sweet voice to perfection. Tho duet between La Tosca and her lover before Iho execution in the last: act is as fine as anything which Puccini has written, and it was sung magnificently. Even Conductor Anirelini was setistled, and Professor Marshall Hall, who was standing al (lie bnclc of the dress circle, added his demonstration of approval. "Samson and Delilah. " Contrary to expectations, t) IP opera which made tho most profound impression and became, during the season, more popular than any of the others 0 except those in which Melba anurarorl) was Saint-Saons' "Fan*one e Dalila," or in cood plain English, "Penifon and Delilah," the opera which was banned in Emdand for a nuarter of a century. Why if is hard to conceive, as the music thron.Hi-.nt is marked by o gravity and maie-(y. of a most compelling eha.rocfcr, and the only light touches that illuminate the florid grandeur are tho beautiful ballaiis-thp one in the market_ placo of Gaza'in the first act, where Delilah exerts her charms to entangle Samson, and secondly in the temple scone before the 'laming altar of Pagon, immediately before Samson destroys the edifice.

Tho second act ;<; the great temptation scene, in the valley beside the home of Delilah. Tho whole act consists of two dines—at first between a certain wholly fictitious high priest and Delilah, anil Samson and Delilah—florid, impassioned" music, but without even a tench of (he sensuous. At the end of the act Delilah, sure of her lover, rushes in'n her house, and after a few moment.':' hesitation is followed by Samson, while lightning crr.eicles ..ad thunder roll-. It is sup-

posed to be an accompaniment fa the triumph of sin. Even as the wild scene is lighted |;y the electricity of tho heavens Delilah appears on the balcony waving Samson's leeks, while, from the gloom, a mighty voice booms the word "Betrayed!" Delilah's action is the signal for ths'High Priest and his soldiers to approach and make a .prisoner.

Tho last act is tragically emotional. Samson, in rags, is discovered slmvn of his locks and blind,' pushing a (;rcat ivliivl round a bin of corn. He sings of iris fallen greatness, his lost strength, and his mad lolly in yielding to temptation, whilst beyond can bo heard the wailing of the Hebrew prisoners. Then, in startling contrast, the scene changes to the brilliantly illuminated temple! with a gorgeous ballet in progress in honour of the god Dagon. Into this brilliant scene Samson,' a gaunt figure, is led by a little child to be taunted by the alleged priest and. Delilah. In his - agony ho pravs for strength to effect his purpose, ami regaining it tears down the pillars of the temple, amidst the terrorised shrieks of the Philistines—a magnificently spectacular scene.

Tho company possesses two Delilahs— Eleanora do Cisueros and .Marie Ranzenburg. Both aro fine artists, and handsome women, but personally. I preferred the performance of Cisueros, who is a finished artist in every respect. Her cultured mezzo-soprano voice is round anil velvety in quality aad withal she has a ringing iop register seldom encountered in a voice so placed. Signer Zeni was the Samson. He is a magnificent specimen of manhood, Cft. 2in. in height, quite a young man with a big brassy tenor (hat takes somo getting used to.

In connection with the Melba Grand O'oera Company's scries of triumphs, mention should be made of the sterling work which has been done by Air. Hugh Ward, who has had the direction of the groat enterprise. Managing a grand opera company is not a bed of roses, but in this ca.se Mr. Ward has by his foresight anfl great tact smoothed out many dill'erences, and successfully coped with n dozen cri c &" the most serious of which was that brought about by Melba's illness. Manv of the Continental artists arc under contract to sing only Ihico times a wick, and as each has his or her special lino of repertoire the task of fitting in performances jvilli easts which would not clash with contract arrangements was no light one. In this work Mr. Ward bad tho valuable assistance of Mr, John I/ouimonc