GRAND OPERA SEASON

Dominion, Volume 21, Issue 259, 2 August 1928, Page 11

GRAND OPERA SEASON

“LA TRAVIATA” “La Traviata,” an opera in four acts, by Guiseppe Verdi. Libretto by Piave. Cast: — Violetta Valerie Signa. Olga Poletti Flora Bervoix Signa. A. Mazza Annina .... Signa. Matilda Pfrimmer Alfredo Germont Sig. Vannucei Giorgio Germont Sig. Scamuzzi Gastone Sig. Gilardi Baron DoupholSig. Carlo Gislon Marquis d'-Obigny Sig. Gardelli Doctor Grenvil Sig. Altieri “La Traviata,” Verdi’s beautiful lyric opera presented by tlie Gonsalez Company at His Majesty's Theatre last night before another audience that tilled every seat, is an opera that has worn through three-quarters of a century of time almost as well as “11 Trovatore,” though when it was first produced, a month later thau “Trovatore” at the Opera House, Venice, it was voted almost a complete failure. "Caro Eniauuelle,” wrote Verdi to his friend and pupil Muzid, “‘Traviata’ lust night made, a fiasco. Is the fault mine or the actors? Time will show.” Time, the greatest arbiter in al! tilings artistic, has shown that the responsibility . for the failure was entirely due to the singers, though some of them were the best of their day. On that occasion the tenor, Signor Graziani, caught a cold, and sang throughout the evening in a hoarse voice that was almost inaudible. Sign.' Varesi, the baritone having what lie considered to be a secondary role, took no trouble to bring out the importance of his short but excellent role, so that the real musical significance of the duct in the second act between Violetta and Germont was lost. Then again. Signora Donatelli, who had to interpret*the frail, consumptive Violetta, was one of the stoutest ladies on the lyric stage of that day, and tlie audience were thrown into a state of hilarious glee when the doctor in the third act declared that the fell disease had wasted away the frail but luigelyobese Violetta, so that the tragic last act went for nought. The failure at Venice, however, did not prevent tlie opera succeeding elsewhere, and it was one of the most popular operas of the Verdi repertoire of the Victorian era. The story of -"La Traviata” is that of Dumas’ "La Dame aux Camellias,” or, as we know it better, “Camille." in brief the experience of tlie.fair but frail Violetta (Camille), who, after a rather gay life, achieves a grande passion for Alfredo Germont, a young man of good family with excellent prospects in life, and with him I retires to the country, there to enjoy her one real romance, as she knows that she is the doomed victim of consumption. Their life, idyllic to both lovers, is disturbed by family intervention. Hearing of his son’s infatuation. Alfredo’s father, swallowing his pride, makes a personal appeal to Violetta to release his son, for his own sake, for the sake of his- family, and for- his sister's sake (as the latter’s fiance threatens to break off the match on account of the scandal attaching to tlie name of Germont.). If she really loves .Ilfredo she must do this. Violetta rises to the occasion, and deliberately deceives' Alfredo by pretending to return to one of her old lovers in order that he will break with her —and the break comes— between the two fond lovers and in her own heart, for it is the prelude to her death. From the* foregoing it will lie gathered that the subject forms almost an ideal subject for lyric treatment, as there is an entire absence of violent deeds, gory stabbings and killings and tlie like, tlie only tragedy being the death of one whose life scarcely conformed to the rules of health. Its atmosphere has been admirably caught by Verdi, whose amazing gift for melody is very beautifully exemplified in almost every number.. The orchestral score is not a very full one, but the lovely preludes for muted strings to the opening of the first and last nets conveys an air of pathos and sympathy ideally suited to tlie sadness of tlie scene. The company produced a new cast entirely to that of "Il Trovatore.” Violetta was entrusted to Signorina Olga Poletti, a light lyric soprano, whose highly emotional temperament was almost ideally suited to the woman Dumas drew, and who acted the role of the consumptive courtesan witli a pathos that was quite moving. Her - simulation of the final stages and her death in the arms of her lover in the last act was a particularly vivid bit of emotional acting. Signorina Poletti’s voice Is very light except when strenuously exerted, but the moodful and light-hearted manner in which she sang the aria "Ah. Fors a liu” in the first act. and the “Addie del I’assato" aria (and the duet which followed) in the last act was evidence of advanced art in dramatic vocalism. Signor Vannuci, the young tenor who played Alfredo, was, in personality and acting, well suited, but his light and rather reedy tenor, and pronounced vibrato did not make for complete success. On the other hand .Signor Scamuzzi (baritone), as Alfredo’s father, gave a performance of great breadth and dignity. This artist has a big tone, rather uneven in quality, and vocally more pleasing when not exerted to the full. He made a decided success of the melodious solo, “Di vonza,” and sang and acted tlie long duet of the second act with sound artistry. Signor Alfieri (basso) was quietly effective as Dr. Grenvil, Signorina Muzzii made nebarming Flora Bervoix, and Signorina Pfrimmer was a capable Annina. In the operatic version Alfredo’s rival for Violetta’s favour becomes much more of a nonentity than the role is in the drama, and was played as such by Signor Gardelli. The chorus and orchestra ,'xere satisfactory. There was also a ballet. Signor Gulsieppe Gonsalez conducted uith his usual command. ■ “RIGOLETTO”

Those who attend to-nights performance of Verdi's "Rigoletto” are assured of a special treat. “Rigoletto’ is classed, as one of his best works. Particular interest attaches to to-night's performance owing to the fact that it will mark the first appearance in Wellington of Mme. Maria Henkina,’ the Russian coloratura soprano. The part of Gikla is one of her principal roles and her interpretation ot it has earned her tlie highest praises from both European and Australian critics. Signor Vanuucci, who takes the role of the Duke, is a brilliant tenor who took Florence by storm, when, live years ago, he made his debut in this role. To-morrow night “Lucia di Lammcrmoor” will be staged and there will be a matinee on Saturday afternoon, when Rigoletto will be repeated.