PUCCINI’S “TOSCA”

Dominion, Volume 26, Issue 39, 9 November 1932, Page 5

PUCCINI’S “TOSCA”

Wellington Appreciates Masterpiece ORCHESTRAL TRIUMPH ‘Tosca,” a grand, opera in three acts by Puccini, from the drama of Sardou. Cast— Floria Tosco .. Molly de Gunst II Barone Scarpia Apollo Granforte Mario Cavaradossi ..,■•■■■ Pedro Mirassou Cesare Angelottl .. V. Andreani Il Sagrestano Michele Flore Spoletta Boy Glasheen Sciarrone Beg. Hood Una Pastore Lina Bianchi Although thirty-two “ years old, Puccini’s opera ‘Tosca” was not heard in Wellington until last evening, which made the performance one of unusual interest, for while this opera may not have added much additional lustre to the fame of its composer it illustrated the diversity of his genius in giving Victorien Sardou’s dramatic orgy of lust and passion an extraordinarily colourful dressing. Thanks to an excellent and conscientious cast, this line work of Puccini’s was approached in all seriousness, and the efforts of the individual artists was backed by one of the finest stage settings ever given a grand opera in Wellington. Unforgettably impressive in its completeness was the ehurch scene, which concluded with a procession of acolytes, with swinging censers, priests, officers, guard, and finally the encanopied bishop, who blesses the congregation, even as Scarpia weaves his devilish plot. Tosca had a very lovely’ exponent in Miss Molly de Gunst, who always presented an appealing and picturesque presence, and who sang this difficult role surprisingly well, at times rising to great dramatic heights. In “Vissi d’arte, vissi d’amore,” the aria, sung under stress as Scarpia sips his coffee at the end of the strenuous torture scene, was expressively sung, as was also the fine duet “Non la sospiri” in the first act, and the lovely duet in the final act just before Mario goes to his death. Stellar performances which will be long remembered in connection with the first performance of “Tosca”-in- Wellington were those of Pedro Mirassou as Mario Cavaradossi and Apollo Granforte as Scarpia. Mirassou’s quality as a dramatic tenor gains with the progress of the season. His Mario, rich in human appeal, was a controlled performance of the highest artistry. Especially poignant was his acting in the torture scene, where be recovers from his torpor to shriek his hysterical “Vittoria, Vittoria,” at the "impassive Scarpia, before being dragged off to prison, and no number in the opera was so exquisitely sung as Mario’s last act aria, “E lucevan le Stelle.” ' ' As the calm, devilish Scarpia, Apollo Granforte again proved himself a most polished actqr, and a baritone who thrills an audience by the majestic power and musical quality of his exceptional voice. The sacristan of the first 'act was played by Michele Fiore with an unction that was highly amusing. The Angelotti of F. Andreani was a vivid little study of a hunted man, and Mr. Roy Glasheen.was - Spoletta. the police agent. In “Tosca”, the orchestration was rich in a lurid sense. Every shade of. meaning, every wave of passion, and all the hate, love, brutality and tenderness has a sharp reflex in the orchestra, which, under Signor Emilio Rossi, gave for its numbers and constitution a most creditable performance, one, it may be added, that ended l in the firmest ovation yet given 'during the present season. . “Faust” To-night, i This" evening, at, 7.45, there, will be a spectacular ■ performance of ■ Gounod’s “Faust,” with brilliant cast and huge chorus. Primo Montanari will appear as Faust, Cesarina Valobra as Marguerite, Albino Marone as Mephisto, DelChiaro as Valentine,- Gladys ■ Carlysle as Siebel, Lina Bianchi asi Martha.

This afternoon, commencing at 1.45, there will be a special and final performance of Bizet's “Carmen,” with Bruua Castagna in the title role, and a magnificent cast of favourites, including the sensationally successful Pedro Mirassou