GRAND OPERA SEASON

Manawatu Standard, Volume XLVIII, Issue 226, 22 August 1928, Page 3

GRAND OPERA SEASON

BRILLIANT OPENING

“IL TROVATORE” PRESENTED.

Grand opera is such a rare thing in New Zealand that a comparative search over the range of one’s practical kriowledge of it is not difficult. But to be more artistically in keeping one confined ono’s self last evening to comparison with the FullerGonsalez combination of early 1917 days. The recalling of the wonderful enthusiasm which so indelibly impressed that visit was simplo because of the similarity of circumstance—the crowded auditorium, the attentiveness and the existent feeling of the unusual; a novelty that might, in its way, unfold as beautiful as the Russian Ballet, or’as monstrously bizarre s 6 the Parisian melodrama. Certainly it was an unique experience for many, while for others it was the renewed experience of a delight long since discovered. “II Trovatore” docs not afford a / true conception of grand opera. It has worn well-enough, but it cannot bo compared with the composer’s “Rigoletto’’ or “Traviata” — Uumas’6 drawing room tragedy of “Camille” as we have had it on the speaking stage—yet it is one of the best as it is the last of tho Italian Opera School; and with such vocalists as the present Italian coterie one could forget the plot with its frenzy of melodrama and the characters of the merest pasteboard; one listened rather to tho broad sweep of Verdi’s melodies, his vigorous rhythms, and the stirring climaxes of his concerted pieces. “II Trovalore” is Verdi exhibiting more triumphantly than in any of his operas his amazing fertility of invention and extraordinary vivacity of expression. But tho opera was not the birth of the third, and culminating, period in the composer’s life, as was "Rigoletto,” which probably is why the latter has never lost its popularity. “II Trovatoro” was prominent. in the 1917 Gonsalez Company’s repertoire for the smaller towns. Remembering that combination and the treatment of the work, one may . say that vocally and histrionically the present principals aro in some cases as sound as the preceding artists who played, but the general presentation in this year of grace is very much better. There is the greatly improved mounting, which after all is a secondary consideration to voice and music, but necessary; and a more adequate orchestra led by a master musician, Giovanni Gonsalez, well steeped in operatic traditions. And similar to tho 1917 tour there is a comparatively small, though robust, chorus, of which tho men are from Italy and tho majority pf the girls Australians with bright Australian voices. But “II Trovatoro” is well-known as a “prima donna” opera and the male chorus get any opportunity offering. ' The only grouping of note is tho 6cene at the gipsy encampment in the mountains. It is hero that the celebrated “Anvil Chorus” is sung to the ringing blows of the hammers. The role ot Azucena, gipsy woman and daughter of a witch, may be made the most outstanding of the opera. One was prepared in a way for Signorina Nina Algiozzina, but not for such remarkable artistry. A mezzo-soprano voice of ‘great range and beauty, and indomitable in tone, the signorina gave a wonderful performance in an extremely difficult characterisation. The well-known “Stride la Vampa slie sang with realistic simulation of the ■luorror of her mother’s execution at the stake, and, later, in tho prison cell, when a broken-hearted woman she sang with the tenor tho appealing, equally familiar, “Homo to Our Mountains” and gave evidence of her great versatility. There was sustained applause for Signorina Algozzina, and it was applause wholly warranted. Such acting and vocalising ability as are hers must make the name part in “Carmen” another pperatic masterpiece for this lady. The unhappy Leonora was Signorina Rosita Silvestri, a dramatic soprano with a regal appearance and a regal voice; an operatic artist who can both sing and act, which is not always the case. Her first impression as a singer was a tendency to hardness, but this later gave way tio beauty of tone that was brilliant toward the close of the opera. Tho audience almost- cheered her when she sang, 'on stage, the “Ah Che La Morto” (Miserere) duet—it was probably known to nearly everyone so hackneyed is it after seventy years’ usage —and there was a glorious wealth of tone in “D Amour Sull’ ali Rosee.” Signior Alessandro Rota, who sang the role of Manrico, the Troubador, has a fine lyric tenor voice. It has not the insipid tone lof some lyric tenors, even operatic tenors, but a mellowness in harmony with tho singer’s well formed physique. He recalled in some ways the beauty of voice that was Capelli’s, the tenor who sang Manrico in the 1917 season, but he has not Capolli’s brilliancy. Signor Rota acted and sang a great deal with Azucena, his foster mother, and tho beauty of his voice was equally apparent in “Home to Our Mountains” and in the celebrated aria that he voices from within the prison. A magnificent actor and singer who has some of tho finest baritone poles in the company’s repertoire is Signor Francis Iza, who played the role of the Comte de Lunn. Last year in Brazil the signor was included in a company along with Titta Ruffo, Gigli and Schipa. That is an achievement, indeed. His vioico is of a booming richness, its magnificence being fully exploited in the famous aria in Act 2, scene 2—“ II Balen” or, as is more familiarly known, “The Tempest of tho Heart.” The other principals, but of less importancs as far as the action is concerned, were Signor Ernesto Fumagalli as Ferrando, the Comte’s captain of tho guard, a satisfying baoso-profundo, Signorina Matilda Pfrimmer as Inez, confidante of Leoniora, a young artist with a well-built mezzo-soprano, and Signor Gislon as Ruiz, a soldier in Manrico’s service.

“RIGOLETTO” THIS EVENING

Those who attend this evening’s performance of Verdi’s “Rigoletto” arc assured of a specaii treat. Though.it precedes “II Trovatore” and “La Traviata” by two year*, “Rigoletto” is generally classed with them as representing high-water mark in the master’s development. Special interest attaches to this evening’s performance owing to the fact that it will mark the first appearance in Palmerston North of Madame Maria Henkina, the Russian coloratura soprano. The part of Gilda, in which she will be seen, is one of .her principal roles and her interpretation of it has earned her the highest praise from both European and Australian and Now Zealand critics. Madame Henkina dresses magnificently and has a very striking presence on the stage. Signor Vannucci, who takes the role of the Duke, is a brilliant tenor who took Florence by storm, when five years ago ho made his debut in this part. From obscurity in one night ho became famous. Signor Vicleffo Scamuzzi, who takes the part of the unfortunate Rigoletto, is well known to our public for the enormous success achieved during the previous Consalez tour in 1916 and his return to Australia and New Zealand has been hailed with delight by all music lovers. Signor Alficri and Signor Fcderici who take the respective parts of Sparafucile and Monterono are well-known artists in Europo and America where they have sung in the most important opera houses. Signorina Matilda Pfrimmer, who plays the coquettish role of Maddalena, is a young mezzo soprano who took Sydney and Melbourne by storm and whero she was known as tho “darling of the public.” There are some particularly fino musical numbers in tho opera, including the famous tenor solos, “Questa o Quclla,” “La Donna o Mobile,” the lovely soprano aria “Caro Nome” and the famous “Quartett.”