GONSALEZ OPERA CO

Dominion, Volume 10, Issue 2953, 13 December 1916, Page 7

GONSALEZ OPERA CO

"UN BALLO IN MASCHERA" j "Un Ballo ,in Mascliera," a grand opera, in four acts, by Verdi. Cast:— Ricoardo Signor Cappclli Amelia Signora Do Jfeyers Oscar (Paggio) Signorina Visoni Ulrica Signoriiia Russ Renato Signor Scamum Tom Signor Caoialli Samuelo i Signor llosca Silvano Signor Cesarom A Jew Signor Potrucoi It is time Wellington theatre-goers woke up to the {reasuro of grand operatliey are missing. Last evening the Grand Opera House was only half filled; it should have heen packed to overflowing, ' for the performance was probably the best given of afiy grand opera in the history of matters musical in this country, and "Un Ballo," one the least-known, of Verdi's operas, is probably a work that ranks next in musical worth to his last and greatest "Aida." It sparkles with gems of radiant song, spirited' choruses, and is rioh in wonderfully fine concerted music, whicli roused the audience to storms of applause again and again. As the season of the Gonsalez Company advancos it becomes more and more apparent what a fine combination it is, and how extremely fortnnato wo are to be privileged to witness such performances as wore given last evening and the whole of the previous week. "Un Ballo in Maschera" (the ball in masks), whicli was performed for the first time in New Zealand last evening, is a product of Verdi's mature genius. Ho was 45 years of ago whgn ho composed the opera, which followed "II frovatore" and "La Traviata," and preceded "Don Carlos" and "Aida. 1 " It ia interesting to relate that tho original title of tho opera was "Gustavo III," but during tho rehearsals tho attempt of Orsini against the life of Napoleon 111 was made, and tho performance of an opera with so suggestive a title was interdicted. Verdi received a peremptory order from the police to adapt his music to different words, and upon his refusal the manager of the San Carlo Opera Houso at Naples brought an action against him for 200,000 francs damages. When this was known, together with tho fact that ho had refused to ask. permission to produco his work as it was, there was very nearly a revolution in Naples. Crowds assembled undor his window, aud acoompanied him through the streets, shouting "Viva, Verdi!" • In this crisis Signor Jasovacoi, an enterprising impressario from Rome, called on Verdi, and, taking the responsibility of arranging everything with the Roman polico, entered into a contract to produco the work at Rome. Richard, Governor of Boston, Mass.; was substituted for Gustavd 111, the opera was rechristened "II BaJo ill i Afascliera" was. produced on February 17, 1859, and proved one of Verdi's greatest successes. It was the best work he wrote for the Italian stage. His latest ■three works were written for St. Petersburg, Paris, and Cairo. There is something comic in changing tho sceno from Naples to Boston, U.S.A., but evidently the Roman impressario was determined to get as far airay from political trouble as possible, i Two versions really exist— one adhering to Naples as the scene of action, and the other takes one across fhe Atlantic to "the city of oultnre/' then in its swaddling clothes. No opera has been -so admirably cast this season unless we except "I Pagliacci." The opera played as brightly as though it were written yesterday. The first act has all the fun and sparkle of an Offenbach score, and'as the tragedy deepens the music gains in authority, without losing any of its melodic grace, and the result was a, delightful and brilliant surprise to all who had not heard the work before. Signor Bettino Capelli was at the very top of his form as RiccaTdo, a role which coming after his Edgar in "Lucia di Lammermoor," strengthens one's belief that lie is the finest operatic tenor ever heard in New Zealand.- His clear caressing voice and impeccable diction, combined with his buoyant youth and handsome appearance," made the Governor of Boston a very fascinating person, and it was little wonder , that- the fair Amelia had to seek tho Sybil's aid to subdue her fatal passion. J l'he tenor sang in golden tones the romance "La rivedra Nell' estosi," the haunting "Volta la terre," . in the sparkling first act, and there was positive witchery in tho manner in whicli he sang the canzone of the sea,. "Di tu se fedele il fluto m'aspetta/" and later the mocking lilt, "B Schezzo ode follia," in which he raised a storm of applause. He' was also heard to supreme ficfKUitage in tlio duet, "Teco io sto, gran dio," in the romance, "ila so m' ,e forza perdita," and in the final tragic sceno, "Ella e pura/' On the whole Signor Capelli's performance was an event in our musical history, and he well deserved the ecstatic enthusiasm ho raised. Signor Scamuzzi was' equally as good as Renato. He throw the whole weight of his forceful art into the role of the betrayed husband with an ardour that electrified the audience. His vocal power was impressive, and his magnetism self-evident. There was no more artistically expressed number during the evening than Signor Scamuzzi's singing of the "O dolcezze perdute," for which he was acclaimed. Signorina: Visoni . was m dazzlng form. She had all the brightness and verve of a comio opera star, and that without any strain or effort, and her singing of tho conzone, "Sapor vorreste," was a pure joy. Signora do Revers was better suited than usual as Amelia, and gave a good, account of herself in the big aria of the second aot. The opera has many notable choral onsembles of a stirring character.. The "O Figlia" final was a feature, and the fine quartet, "Ve se. di notto qui colla sposa," at tho end of the 6econd act was artistically • a fmo effort. Signorina R-uss acted realistically as Ulrch the witch, and Signori Cacialli and Mosca were quite excellent as Tommaso and Samuele. Tho opera was adequately mounted and dressed. This evening tho company is 'to be heard once more in "Lucia di Lammermoor," in which Signor Capelli and Signora Gonsalez appears'to sucl\ distinct advantago. '