LES CLOCHES DE CORNEVILLE.

King Country Chronicle, Volume XXIX, Issue 4762, 22 October 1935, Page 5

LES CLOCHES DE CORNEVILLE.

SUCCESSFUL PRODUCTION. OPERATIC SOCIETY’S EFFORT. AN APPRECIATIVE AUDIENCE. The Te Kuiti Operatic Society is to be congratulated o'n the production of “Les Cloches de Corneville,” by Robert Planchette, which commenced its season last evening' in the Ritz. The famous comic opera was foil wed closely and appreciatively by a large audience, and even to those who knew nothing of the plot the story could be followed with ease, while the acting, singing, and the work of the choruses were of a very high order indeed. The part, of Gaspard will live long in the memories of the audience as a result of its portrayal by Mr. F. Muller. As the old miser, half mad, but calculating, cringing, subservient, and greedy for “the look of the gold he has hidden in the Chateau of Corneville, his interpretation was truly excellent. His villainy is unfolded by the return of the Marquis de Corneville, who laughs to scorn his tales of ghosts in his ancestral home and makes investigations. The part of this young lord was taken by Mr. H. G. Shakes. His carefree, careless air as he, straight from the ship of which he is captain, came on to the scene soon after the opening, was a prelude to fine acting throughout the opera. With his splendid and controlled voice, both in singing and spoken parts, his work was a great factor in the success of the production. Playing opposite him in good style was Mrs. C. Wilkins as Germaine, found later to be the Mdlle. de Lucenay, the rightful heiress to the gold that Gaspard was hoarding in the Chateau of Corneville.

Mrs. Nathan, of Otorohanga, a s the mercurial Serpolette, swaying gracefully and also tunefully from one mood to another throughout the opera, had a very difficult part, but played it to perfection. She seemed to catch the spirit of Serpolette, changing from fear to laughter, and turning from poverty to riches, and then, when it is found Germaine arid not she is Mdlle. de Lucenay, to poverty again, little caring; or, perhaps, with a fine bravery, refusing to show that she cared. It would be hard 'to think of the Baillie without his perfect foil, Gobo. The Baillie was Mr. P. White who, in an excellent character study of the pompous, self-important and gullible representative of the law, provided many a laugh for the audience, and many a cha'nce for Gobo (Mr. Nelson of Otorohanga) to have his say. The facial expressions, the remarkable antics, and the soulful gaze of Gobo will be remembered in Te Kuiti for many a long day. His performance will rank as one of the best in the opera. As Grenicheaux, Mrs. Baddeley added to her laurels; her singing being particularly appreciated, and her acting was of a high order. Other smaller parts were taken as follows: Manette, Mrs. Bush; Jeanne, Miss P. Ferguson; Gertrude, Miss Sell; Christophe, Mr. G. Bush; Scipion (a cadet), Miss H. Elliott. To the chorus the opera owes much of its success. Their singing was a pleasure to listen to, well trained and full, and quite a number of the audience could be heard commenting on their excellence. In the old favourite, “Silent Heroes From Out the Mighty Past,” in which they were led by the Marquis, Mr. Shakes, they excelled themselves. With a spontaneity that carried the audience with them in their dancing and singing, they added greatly to the spectacular effect throughout the opera. The members of the chorus were as follows: — Mesdames M. Bush, E. Dobson, E. Hedley, J. Hedley, >M. Sparks, E. Ware, G. Verran, Misses W. Barr, C. Calver, M. Calver, M. Ferguson, J. Cdnway-Jones, E. M. McLeod, P. Oliver, E. Sell, B. Williams; Messrs. J. Bates, G. H. Bush, J. Blackman, W. S. Cato, A. B. Cotter, A. J. Cotter, J. Dean, B. Drew, R. Hedley, P. Henneker, H. Krogh, E. G. Ware. It may safely be said that the staging and costuming constituted one of the features of the opera. The second act, within the Chateau of, Corneville, provides a vivid contrast with the first and third acts. The costuming was colourful and beautiful, the sce'nery both lavish and tasteful, and the lighting used on it to great effect. This was particularly noticeable when, after the audience had become accustomed to the sombre lighting when the Marquis lays the ghost inside the Chateau, the third act begins with the dancing in the sunlight to celebrate the Chateau’s renovation.

The orchestra proved to be a feature of the evening’s entertainment with their splendid harmony and musical effects.

Further presentations of the opera are to be given to-night and on Wednesday.