GRAND OPERA

Evening Post, Volume CXX, Issue 133, 2 December 1935, Page 13

GRAND OPERA

NEW ZEALAND PRO-

DTJGTIONS

INTERESTING RECOLLECTIONS

(Written for "The Post" by L.E.S.)

The fact that New Zealand now has

its own grand opera company focuses attention on past visits of grand opera companies to the Dominion.

Strange to relate, though the expense of bringing a grand opera company to the Antipodes is such as might well terrify the most optimistic entrepeneur, the colony of New Zealand was still in its infancy when its inhabitants were afforded an opportunity of recalling memorable performances at Covent Garden or in the opera houses of the Continent. It will probably surprise many readers to learn that it was as far back as 1869 that high-class Italian opera was produced for the first time in New Zealand. A large company had been stranded in Melbourne, and as no ship would be available for two or three months to take its members back to their own country, they were brought here to fill in time and help pay expenses. They toured New Zealand, and were much appreciated.

According to a writer in the "Otago Daily Times" some years ago the leading artists were of a high order. This episode is only worth mentioning to show how New Zealand in 1869-70 was very rapidly coming into the limelight. That company did a great deal towards educating musical taste in the country, and for some years the best solos from Italian opera were very often heard.

It is interesting to note that Meyerbeer's "L'Africaine," the only production mentioned by the writer,' was only four years old at the time of its Ne-v Zealand presentation. It was first produced at the Grand Opera House, Paris, in April, 1865, less than one year after the death of its composer, who died in the midst of preparations for its production. Just how any opera company could adequately produce "L'Africane" in New Zealand in 1869 is a mystery, for it calls for one of the most elaborate stage settings in opera. This is the ship scene, which gives a lengthwise section of a vessel, so that its between-decks and cabin interiors are seen—like the compartments of a huge but neatly-partitioned box laid on its long side; in fact, an amazing piece of I marine architecture, and of stage carI pentry.

Several other Italian opera companies visited New Zealand in the eighties, and more than one of them was "stranded"—no uncommon state of affairs in the theatrical world in those days.

Another very interesting feature of early operatic productions in New Zealand is the fact that the Gilbert and Sullivan operas were produced in the colony shortly after their original production in England. In May, 1878, for instance, "H.M.S. Pinafore" had its premiere at the Opera Comique, London. Less than a year later the opera was staged in Wellington. "The Pirates of Penzance," which had its first London presentation in April, 1880, was staged in June, 1881, in Wellington.

It is rather surprising to find that in those now far-off days there was a high standard of musical culture among the colonists. The writer was informed by an old identity that each mail from England brought the latest musical successes from the Old Country, and .it was the practice for musiclovers to visit each other's homes, gather round the piano (or perhaps the performer was a violinist), and make themselves thoroughly acquainted with the new music. Thus it was that when the Gilbert and Sullivan companies arrived in New Zealand they played to audiences which knew every note of the operas, though they were then definitely "latest releases."

One of the most ambitious grand opera ventures in New Zealand was the German Grand Opera Company brought out under the direction of Musgrove in 1901. This is the only occasion in the history of the Dominion when music lovers have been afforded an opportunity of witnessing Wagnerian operas sung by German principals and chorus. Unfortunately this season, for various reasons, was not a success, and the tour resulted in a heavy loss. This company played three early works of Wagner—"The Flying Dutchman," "Tannhauser," and "Lohengrin." Besides the Wagner operas, "Carmen" and "Faust" were staged. Slapoffski was the conductor.

In 1909 or 1910 J. C. Williamson toured a grand opera company through the Dominion and produced a series of the most popular Italian operas with outstanding success, financial and otherwise. Mention should also be made' of the visit, about this time, of Madame Emma Calve, the world's greatest Carmen. Madame ■ Calve, with assisting artists, presented scenes from some of her operatic triumphs.

In 1921 the Gonsalez Italian Opera Company made its first tour of the Dominion, presenting a series of the bestknown operas. Another Gonsalez company, under the direction of Sir Benjamin Fuller, toured New Zealand in 1928 when a number of rarely-pro-duced operas such as "Norma" and "The Masked Ball," were included in the season's productions.

The visit in 1932 of the J. C. Williamson Company is too fresh in the memory of music-lovers to need more than passing mention. It is perhaps not generally realised, however, that this company was fully the equal of the companies which present opera in the world's greatest opera houses. In normal times some of the artists whom New Zealanders heard would be fully occupied in operatic seasons overseas; oply the world-wide depression induced some of them to accept engagements for an Australian and New Zealand tour.

Although grand opera seasons in New Zealand are few and far between, music-lovers have had occasional opportunities of hearing some of the world's greatest operatic artists in recitals. As already stated, some fine operatic singers visited the colony in its comparatively early days, and during the present century musiclovers had an opportunity of hearing such "stars" as Lilian Nordica, Eleanore de Cisneros, Marguerite d'Alvarez, Toti dal Monte, Galli-Curci, Madame Melba, Kirkby Lunn, Lydia Lypkovska, Feodor Chaliapin, and our own New Zealand "stars" —Rosina Buckman and Frances Alda.

Years may pass before we have an opportunity of witnessing operatic productions by another visiting company—in the meantime Signor Lucien Cesaroni and the New Zealand Grand Opera Company are conferring a boon on music-lovers by arranging for the presentation annually of at least one complete grand opera.