GRAND OPERA

Dominion, Volume 26, Issue 31, 31 October 1932, Page 6

GRAND OPERA

Triumphant Opening to Wellington Season “MADAME BUTTERFLY” “Madame Butterfly,” a grand, opera in three acts by Giacomo Puccini. Cast: Madame Butterfly Cesarlua Valobra Suzuki Jeanette Rooney Little Trouble Wendy Wallace F. B Pinkerton Primo Montanari Sharpless ; 1110 Del-Chiaro Sharpless 1110 del Chiaro Goro ■ Roy Glasheen Prince Yamadorl Michele Fiore The BonzeMicholo Fiore The Official Registrar Michele Brien Kato Plukerton Lina Bianchi A notable performance of Puccini’s “Madame Butterfly” initiated the season of the Imperial Grand Opera Company in Wellington at the Grand Opera House on Saturday evening, when every seat in the house was occupied. J. L. Long and David Belasco’s romantic play evidently pleased the composer to sued an extent that it inspired his genius to such, a unity of high endeavour that, after a quarter of a century, there is no trace of the opera waning in popularity. “Madame Butterfly” was the first of the three great operas by Puccini — “Butterfly,” “La Boheme,” and “La Tosca”—to catch, the world by the' throat. Beyond the tragedy.of a Japauese girl deceived by an American naval lieutenant, there is nothing in the LongBelasco play to serve' as an inspiration for grand opera, but Puccini was unique. He was a new light in opera, owing nothing in form, style, or melody to his illustrious forbears in Italian grand opera. He took this passing love affair, with its sad denouement, draped it artistically with gorgeous melody and colourful orchestration of a new order, and so made an operatic gem of a dramatic pebble. Brilliant Prima Donna. If for nothing else, Saturday’s performance will long remain green in the memory by reason of the fascinating performance of Signorina Cesariua Valobra in the title role. A small, plump, pretty brunette, this artist achieves a distinct triumph. Her voice is beautifully mellow, and rounded, refreshingly clear, and musically true. With plenty of power at her disposal, and that without the sacrifice of quality, she is always able to dominate, and yet, when soaring away above the clef, she is able to taper to a whisper, and in the dramatic second act to conclude with a heart-breaking sob which goes right to the heart There was a youthful ecstasy in her voluptuous singing in the great duet “Dolce Notte” (happy night) which concludes the first act, and iu the poignant “One Fine Day” aria of the second act. Signorina Valobra’s powers Of interpretation showed her to be an artist of the first order. Moreover, her acting throughout was superb. Charming and playful as the coquettish child-wife in the first act, she plumbed the depths of tragedy in the two succeeding acts with au intensity which had the audience enthralled. The death scene was poignant in its deadly tranquality. Lieutenant Plukerton is not by any means a gratifying role for a tenor, as the sympathies of the audience are against the character, and the music ■allotted to the role is not the best in the opera. Signor Primo Montanari, who has a pleasing presence, has a serviceable lyric vqice, which he can exert with purpose in a climax. Pinkerton’s position in the final act is anomalous. He has to pretend to be frightfully affected over the result of his Japanese “affair,” whilst his second wife, dressed like a Paris model, looks on sympathetically. Signor Ilio del Chiaro, as Sharpless, the American consul, gives a clear-cut, purposeful performance of great strength and dignity, and sings his music with artistic vehemence and precision. Miss Jeanette Rooney, as Suzuki, has an altogether pleasing and sympathetic manner, and sings attractively, but she never for a moment looked Japanese. That could not be said of Signor Michele Fiore, a very gifted basso character actor, who doubled the parts of the Bronze Butterfly’s enraged uncle and the smiling, oily Prince Yamadorl most effectively. The role of little Trouble, the baby, was quite intelligently played by Wendy Wallace, a Wellington child. Mr. Roy Glasheen, in an eccentric make-up, was Goro, the marriage broker, and Miss Lina Bianchi, mezzo, sang the few lines allotted to Kate Pinkerton. Rich Orchestral Music. Much of the success of the performance was due to the inspired conducting of Signor Emillio Rossi, who exercises an absolute command, and whose masterful interpretations, both as regards the soloists and the orchestra, met with enthusiastic approval, and it was pleasing to see him take -the calls after each act with the principals in the Italian style. The orchestral music of “Madame Butterfly” is extraordinarily rich and varied in expressing the various colourful themes associated significantly wlin the different characters, and the present organisation, under the direction of Signor Rossi, is marked by a tone and finish but rarely heard in this country. The opera is exquisitely mounted. The whole of the scenery has been brought direct from Milan, and it is the best of its class seen in Wellington. The first act scene, overlooking the bay of Nagasaki, with its wistaria and cherry blossom effects, was charming. In this scene as the daylight facies, dancing fireflies skim through the air, while in the distance the occulting lights of the harbour give realism to the bewitching scene. Coming Presentations. The second performance of the company will be given this evening, when a spectacular presentation of Verdi’s popular opera “Rigoletto” will be given with one of the strongest casts of the season, which includes Apollo Granforte in his famous role of “Rigoletto”; Lina Paliughi. the brilliant coloratura soprano, as Gilda: Primo Montanari, tenor of beautiful quality as the Duke, and full east. The performance will be conducted by Wando Aldrovandi. Of special interest in the performance will be the appearance of Georgina Sterling, a young Wellington singer of promise, in the role of the Page. To-morrow evening at 7.30 Bizet's “Carmen” will be presented. Only one evening performance can be given of this famous opera, in which over 120 people will take part, more especially in the superb mountain scene and outside the bull ring at Seville. Bruna Castagua will appear as Carmen, a role in which she created her first sensation at La Scala, Milan. The Don Jose will be Pedro Mirassou, one of his greatest parts, and the favourite baritone Apollo Granforte will appear as Escamillo. On Wednesday afternoon commencing at two o'clock the final performance of “Madam Butterfly” will be given with the same cast ou Saturday, and on Wednesday evening the first performance of “Lucia di. Lammertnoor” will be given , with Lina Paliughi iu her famous role in the mad scene. "II Trovatorc” will bo presented on Thursday, and on Friday Puccini’s “La Boheme.” The full programme , is announced elsewhere.