GRAND OPERA

Dominion, Volume 21, Issue 244, 16 July 1928, Page 7

GRAND OPERA

WORKS OLD AND NEW RUDOLFO GONSALEZ IN WELLINGTON There can be no doubt that mush: in its relation to the opera is progressing in (his part of the world, by which :s meant Australia and New Zealand. For the first time in history there have, during the first half of Illis year, been two grand opera companies playing in Austriilia. One of these is now' in Christchurch—the opening performance was given there to an overflow audience —and Wellington people arc to enjoy its performances at the end of the mouth. The Gonsalez Company is not altogether new to Wellington, but the present company is an entirely different organisation to Hie last one, with younger and better artists, and a more impressive ensemble. 'They were associated vrith the Fuller management on the occasion ol their first visit, and again Sir Benjamin and Mr. John Fuller have engaged them to keep the fire of grand opera aflame. It is reported that such has been the success of the present company that the flrin have decided ou another grand opera season for licit year, commencing cither in Sydney or Melbourne in Marell. It is in that connection that Signor Rudolfo Gonsalez arrived here yesterday'from the south cd route for Italy via America. Interviewed by a "Dominion” representative, Signor Gonsalez had much of interest to say about, opera and other things of moment. Up till the age of 35 years be W’jis an actor in comedy aud drama well known throughout Italy. , Subsequently he joined his brothers, Giovanni and Ernesto, in the business of grand opci'.T, with which the name of Gonsalez has been associated for the last 65 years, Ihe father of the present triumvirate, Germane Gonsalez, having been ai.i impresario before them, touring companies throughout Italy,, as the brothers have done throughout the world (America and England excepted). Signor Gonsalez, says that the success of the present tour has exceeded every expectation, and has proved beyond all doubt that there is a great opera-loving public on this side of the world, providing it can be given at a reasonable price, and that is what the Fuller management is doing. The fact that another season was already being arranged, ho said, showed what confidence they all had in the future. The company would not. be entirely new, for there would be some changes made in the casts. The best of the present company would be retained wherever that was possible, but others .would be brought out to fill the vacancies. He hoped to be able to secure the rights of operas other than those at. present, included in the company’s repertoire—perhaps some of the more modern ones. Modern v. Antique Opera. On the subject of modern opera Signor Gonsalez was’ rather illuminating and amusing. “I have a brother, Giovanni,” he said, “who went to see Puccini’s ‘Turandot” two nights running at La Scala, in Milan. He has been conducting o 'era ail his life, but he came away in a quandary as to the music. The spectacle was magnificent and unusual (a wholly Chinese setting), but. the music—he did not bring away a cadence in his head. That is the trouble, with modern opera. It does not satisfy the eternal craving for melody. People like to come away from the opera house with some of the lovely melodies still chiming in their heads, melodies such as Verdi, Rossini, Donizetti and Bellini knew s well how to compose. But now—what is it? You go to one of these modern operas, perhaps qplendidly produced, but there is scarcely a definite flow of melody in it, and perhaps none that you care to recall.” “The difference between the opera antique and the opera modern may be summed up like this: The old operas called for superb vocalists, the brilliant coloratura soprano, the impressive dramatic soprano, and great tenors, baritones and bassos; aud, at the same time, very little from the orchestra, which was just the accompaniment to these wonderful voices. On the other hand, the modern opera glorifies and magnifies the importance of the orchestra, making a demand for fine musicians, whilst the vocalist is subordinated entirely. Almost any artist of moderate ability can get through a modern opera, artists who could not look at a leading role in one of the grand old operas. In short, the voice becomes a sort of accompaniment to the orchestra, instead of it being the other way round. Of course, there are exceptions, and always will be, but. can the round of modern opera compare in the slightest degree with those of forty or fifty years ago? Only do they do so in respect of the scale 01. production.” "Norma,” a Cascade of Melody. “How do you account- for the lasting freshness and charm of. the. antique operas? Look at. Belliui s ’Norina or Donizetti’s 'Ln Favorita.’ The firstnamed is now 1)6 years old, so old that it was new to Australian audiences, yet after the first performance*of this beautiful old opera there was never a vacant seat. It became so popular that we bad to play it time and again—eight times in Sydney and seven in Melbourne. Of course there is always the craving for the new in anything, but, what we know is that if we were to play a modern workone night we would get the people who are interested in artistic effort, and those who desire to hear entirely new music, but the theatre would not be so full as if we were playing ‘JI Troratore.’ which appeals to the mass of the people. The Company’s Repertoire. “When the company comes to Wellington it will play no fewer than fourteen operas—in itself an achievement, for a touring company. These will be “11 Trovatore,’ ’Luria di Lammermoor,’ ’Faust.’ ’‘Carmen,’ ‘Rigolctto.’ ‘La Traviatu,’ "Norma,' “Mignon, 1 ‘Un Ballo in Masehera,” “The Barber of Seville,'’ “Ermini,” "Lohengrin,” “La Favorita,” and “Fra Diavolo.” Next, season we hope to include the Puccini opera, ‘Manon.’ The rights for playing these operas anywhere in the world are held, ns a rule, either by Ricordi's or Sonzogno, the original publishers of the music. These rights exist, for fifty years, according to Italian and international law. After thdt.the operas may be played by anyone without fee."