GRAND OPERA SEASON

Dominion, Volume 21, Issue 260, 3 August 1928, Page 6

GRAND OPERA SEASON

“RIGOLETTO” “Rigoletto,” a grand opera in four acts, composed by Guiseppe V erdt. Libretto by I’iavc. Cast ~ Gilda . ....Signa. Mana Ilenkma Maddalena-.. Signa. Matilda I’frimmer Countess Ceranop " . Signa. Matilda I’frimmer Giovanna Signa. A. Mazza Duke of Mantua Sig. I>- Vannucci Rigoletto Sig. 1 ranco Izal, Sparafucile Sig. Antonio Alneri Count Cepra.no Sig. C. Gislon Count Monterone . t Sig. Francesco ledenci Borsa Sig. A. Cilganji Marullo Sig. Giirdelh The Page Sig. A. Mazza

Last night, a large audience was given an especial treat by.' the Gonsalez Grand Opera Company at His Majesty’s Theatre. when a'inost interesting performance of Verdi’s famous opera "Rigoletto” was presented for the first time for niany years.* Here is still another of that famous’ chain of operas that has delighted' the music-loving folk of the past threequarters of a century, for the opera was originally performed in Venice on March 11, 1851, preceding "11 Trovatore” and "La Traviata” by two years—a fact which demonstrates in a remarkable way the fecundity of Verdi’s genius. It was the composer who suggested to Piave that he should adapt Victor Hugo’s drama “Le Koi S’amuse,” a much-criticised theme, which, however, was admirably adapted for grand opera.'When the libretto was completed it was sent forward to the police for formal approval, when, to the indignation of the authorities of La Fenice (the grand opera house at Venice), permission to have it set to music was flatly refused. Other subjects were proposed to the composer, but he would, have "La Maledizioue” —as he called the proposed opera—or nothing. Everyone was concerned over the deadlock, opera being part of the life of the people, and a deadlock existed until at last the chief of police came to I’iavo with a bundle o£ papers, and said he had found a way out. That was bv changing the part ol’ the King to that of the Duke of Mantua, and the title to “Rigoletto." Verdi accepted the alterations, and set to work with such vigour that he had completed the opera In forty days'. "Rigoletto” scored an immediate and unequivocal success, and the searing hand of time has not been able to dim the lustre of this masterpiece. The opera has several numbers that apparently have tho gift of eternal life, notably the lovely aria, “Caro Nome,” that pleasing lilt, “La Donna e Mobile,” and the famous quartet, “Un di, si ben rammento me," a theme which has been paraphrased tor the pianoforte by Liszt. The story is an engrossing one. The Duke Of Mantua is a fascinating and heartless libertine, and has. as his abettor, his Jester Rigoletto. ■ Knowing the Duke’s taste for feminine beauty, the jester secretes his daughter Gilda, but the Duke discovers and makes love to her, and Rigoletto, horrified at the discovery that Gilda loves the Duke, engages Sparafucile to assassinate him. In the meantime the Duke has also laid siege to Maddalena, the sister of Sparafucile, and in order to prove to Gilda that her lover is utterly faithless, persuades her to dress as a cavalier, but Gilda hears of the plot to assassinate the Duke and resolves. to warn him of the danger, and when she knocks at the door of tlie inn where the Duke is staying she, being mistaken - for the Duke, is stabbed by Sparafucile, and the body is placed in a sack. When Rigoletto opens the sack he is horrified to find instead of the wayward Duke, his own daughter, and falls senseless upon the. body as the opera ends. The honours of last evening’s performance were carried off by Signer Franco Izal. as the deformed jester Rigoletto, this sound performer giving a very strong,vital, and passionate portrait of the hunchback, whose sins tlnd him out. Signor Izal-verv adroitly showed how a man eould be a villain and yet be. passionately, fond of his own daughter, and was particularly graphic in the portrayal of his feelings in that -Scene where Gilda confesses her. fault? Signor Izal has a baritone voice of the firmest texture and resonance, and sang the arduous role with great vigour and intelligence. Siguorina Maria Honklna made her debut in Wellington as Gilda, More Nordic than Latin in type, she sang the role very well indeed, though iter voice was uot so agile in compassing tlie ilorid passages that so frequently occur;, still Signorlna Henkina sang “Caro Nome” —a test solo for-the coloratura soprano—with credit, and acted the long scene with Rigoletto in the third act with some display- of passionate anguish. 'Die love duet in the second act, and the famous quartet of the fourth? found her the possessor of some ringing top notes. Signor Vannucci. who sang the tenor role of t’ne Duke, looked and .acted the breaker of hearts with conspicuous grace, but bls thin voice of uncertain pitch was not an advantage, and such popular solos as “Oucsta o Quella” and “La Donna e Mobile.” which set the world on tire, went without a recall. It Is said of “La Donna” that Verdi was so conscious, that lie had composed an aria of brilliance that ho would not commit it to paper until a few hours before t'tie premiere, fearing that' the air would spread round before it was heal'd in tlie opera. His judgment was sound, as within n few. weeks It was being whistled and sung throughout Europe. Signorlna I’frlmmej.-, a useful mezzo, made an excellent Maddalena, and Signor Altieri sang the bass role of Sparafucile most effectively. The chorus and orchestra (under Signor Gonsalez) were adequate. Tljc production was enhanced by two very line' scenas— Itigoletto’s home and the ruined inn, bot'li of which have to be built up will; arches, stairways, and platforms, wliic.lt accounted- for the rather lengthy intervals.

“LUCIA DI LA MM Ell MOO It." “Lueia di t.auimermoor," to bo presented lo*.iii"ht is by Donizetti, the composer ofmore 0 than sixty grand operas; an astoiiis'hln" output of high-class work for a man Who died in his forty-ninth year. Many of his operas.are still performed, but have not Hie popularity of “Imola,” which the world has taken to its heart because it c’ont'iins the finest sextet ever written—a brilli'int piece of vocal concerted music which lias to be heard in the opera to b<* appreciated at its real worth, depletin'- is it does, the various strong emulionsof six different characters. The "Mad Sri.Ho” is another famous number, and the solo will b" sung by Stgnorlna Olga Point) who takes the role of “Lucia," and exhibits in this opera the whole range of her vocal and dramatic art. The role of Ed-ar is in the hands of Signor Alessan,lri,” Kot i who, when be lias learned of the di'-ith of Lucv dies a “grand opera death" t.', th!, singing of one of the saddest r,W"e'-0.-t melodies in all opera. 1 lie who In opet.i is a musical masterpie-'*. Inl Meibomm-. •liier Ihe final scene, bignor Lota gut no fewer than live curtains, a wonderful eonv pliment from an audience at the end of a long opera.