GRAND OPERA SEASON

Dominion, Volume 21, Issue 261, 4 August 1928, Page 11

GRAND OPERA SEASON

“LUCIA DI LAMMERMOOR”

Italy has never been without its great operatic composers. Several have been so fecund in their art that they have produced more operas than the, number of years they lived. One of these was Gaetano Donizetti, who was the successor to Rossini, and bridged the gap between the departure of that composer from the active scene until Verdi was firmly seated upon the artistic throne reserved for operatic composers in the heart of the music-loving Latins. Though Donizetti was only 51 years of age when he died, lie composed no fewer than 65 operas, and of these none lives so vitally in the public esteem as “Lucia di Lammermoor,” the very fine work lie founded on Sir Walter Scott’s novel, “The Bride of Lammermoor,” performed with no'little distinction by the Gonsalez company at His Majesty's Theatre last evening to a crowded audience. .“Lucia” was first performed at Naples in 1835, in which year was also produced (in Paris) his opera, “Marino Falioro," and it is curious to note that though he took a wide range of subjects ns themes for his operas, several of his greatest successes were founded upon English motifs, notably “Anna Bolena” (in which Lablanche made a great success as Henry VIII), an opera which was for years considered the corn; poser’s masterpiece; Emilia di Liverpool”; “Elizabetta a Kenilworth “Il Castella di Kenilworth’ ; and Lucia, the last-named three being compliments to the influence of the author of the Waverley novels. . „ The story of “Lucia di Lammermoor deals with the tragic love affair of Lucia (Lucy Ashton), who, though she loves Edgardo of Ravenswood, is being forced into a marriage witli Bucklaw, ins bitter enemy. When, after a tearful parting, Edgardo leaves on a visit to France, Ashton makes all preparations for ins sistor’s marriage to Bucklaw, thinking to get her consent at the last moment, and in order to bring this about a letter is forged to convince Lucy that her lover is false: This ruse succeeds, and she gives her consent to the marriage. When the wedding guests have assembled for the marriage ceremony, the distracted Edgardo enters and demands that, the Ceremony shall cease, but Ashton shows him the contract Lucy had signed, and Edgardo, reproaching her bitterly, leaves the room. The wedding is consummated, and the guests are still making merry, when it is announced that she has stabbed Bucklaw, and has become insane, and in that condition Lucia sings the celebrated aria that is commonly known as the “Mad Scene.” As,the bell tolls forth the dread news, Edgardo’s heart is broken, and. lamenting her end, he stabs himself by her graveside. The tragic story was exquisitely told, vocalists and instrumentalists combining most happily to reproduce Donzetti’s glorious music. The honours of the evening were shared by Signa. Olga Polctti. who rose to great heights in the role of the hapless Lucia, especially in the “mad scene,” in which this talented prima donna combined rare dramatic art with well-nigh faultless vocal perfection. The house fairly rose at her in recognition of an inspired performance, and it was not until the curtain had ascended four times that the genuine tribute censed. The character of Sir Edgar of Ravenswood could not have been in abler hands than those of Sig. Alessandro . Rota, whose robust tenor voice was eminently ■ suited to the many fine numbers allotted to the role. He scored a signal triumph in the msfi-riage scene, in which he denounces his false love, and again in the tragic closing scene, in which, beside himself with grief at the death of Lucia, he stabs himself to death, and pours out. his soul in song as his spirit departs to join his affinity in a kinder world. The opera was rich in good things, but that which transcended all others was the famous sextette, which again roused the crowded audience to much enthusiasm. No finer concerted number has ever been heard from a Wellington platform. Most consistent work:was done by Sig. Francisco Federici, as Henry Ashton, Sig. A. Gislon as Lord Arthur Bucklaw, and Signa. Matilda . Pfrimmer as Alice (Lucia’s devoted companion), Sig. Antonio Alfiere' was completely successful as Raymond, chaplain to Lord Ashton, and the remaining roles were all capably filled. The opera was well staged and mounted. A matinee performance of “Rigoletto” will be given this afternoon.