GRAND OPERA

Evening Star, Issue 21279, 7 December 1932, Page 7

GRAND OPERA

* PAGUACCI ’ AND • CAVALLERIA RUSTICANA' MIRASSPU A SUPERB CANIO There have been many arresting performances to delight opera-goers during the past glorious week, but it is extremely doubtful if any of these was quite ns electrifying as Pedro Mirassou’s Canio in ‘I Pagliacci ’ last evening. It was a superb characterisation, one of great emotional power, and swept the packed house into a remarkable display of enthusiasm. Quite apart from this superlative effort, the production was brilliantly handled, and, in association with a most colourful and charming presentation of ‘ Cavalleria Rusticana,’ provided a programme of singular melodic and artistic value. . This was easily the most popular night of the season, for every seat was taken, a big overflow occupying tne aisles and standing. The applause was tumultuous, and all the principals were the recipients of sustained ovations. One lost count of the curtains that followed ‘ Pagliacci.’

Signor Mirassou absolutely dominated ‘ Pagliacci ’ with the strength and effect of his delineation. To hear him sing ‘Yesti la Giubba ’ (‘On With the Motley ’) was one of the genuinely moving experiences of the season, but it was in that terrible scene where Pacliaccio enacts the tragedy of his own life before a horrified audience that he reached the heights of vocal and histrionic greatness. That scene, so brilliantly conceived, cannot be forgotten. The maddened Pagliaccio sees not the audience, but only his faithless Nedda, and plunges his knife into her cowering bodyi Her lover leaps from his place among the spectators on to the stage. The dagger flashes again. Canio stands stupified. The knife falls from his hand as he cries “ La commedia e finita!” And the orchestra plays down the curtain, crashing out “ Laugh, Pagliaccio!” Second only to Signor Mirassou in this exciting affair was Apollo Granforte, who was the shambling, misshapen Tonio of the piece. Signor Granforte sustained this difficult role admirably and made his performance at once notable for power and conviction. He is a master of stagecraft, and presented a most striking conception of the part of the unlovely clown. His ‘ Prologue ’ was especially effective, and evoked a storm of applause, Signor Aldrovandi conceding in this case one of the very few encores of the season. It is scarcely necessary to add that llio Del Chiaro played the role of Silvio, Nedda’s lover, with distinction. One can rest absolutely assured of an authoritative performance from this splendid baritone. Carmencita Mascagni was the Nedda of the opera. If her interpretation was not brilliant, it was satisfactory. ‘ Pagliacci ’ was preceded by Cavalleria Rusticana,’ that opera of. swift action and intense emotion, of passion, betrayal, and retribution. Its performance was distinguished by general excellence rather than any individual brilliance, Molly De Gunst was the Santuzza of this offering, and was much more effective in this role than in her Marguerite of Saturday evening. Her singing of the celebrated ‘ Voi lo Sapete,’ one of the most impassioned numbers of the score, was a vibrant. Carlo Alfieri, the young tenor with the lovely lyric quality, gave another exceptional delineation as the fickle Turridu, The lovely serenade heard from behind the curtain m the prelude was sung with conspicuous ease and certainty. Signor Alfieri has invested all his music with singular beauty and charm, and it_ has been a great pleasure to hear his emotional utterance. Signor Del Chiaro also appeared in this production, taking the role of Alfio, the teamster. The one brief comment can be applied to all his work—splendid. Lina Bianchi and Eve Lynch assumed the less important parts of Lola and Lucia. The chorus singing, both in this opera and Pagliacoi ’ was extremely delightful, and reached the highest standard of the season. The oho© was the only discordant voice in the orchestra, and provided the one blemish in the famous intermezzo, which was otherwise exquisitely played. The orchestral' music was developed by Signor Aldrovandi to some particularly forceful climaxes, an outstanding example being in the gripping final© to ‘ Pagliacci.’ v LAST PERFORMANCE.

There was a final matinee this afternoon of ‘ Cavalleria Rusticana ’ and ‘ Pagliacci.’ To-night the final gala performance of the season will be given, when the ‘ Tale of_ Hoffman will he presented, which is sure to prove the most popular opera of the season, particularly in view of the fact that practically all the international artists appear in the various tales. For this farewell gala night 400 tickets will be held for sale at the doors at the cheap prices. Patrons are advised to take advantage of the day sale. The company will sail for Australia by the Marama from Wellington next Friday afternoon.