COMIC OPERA SEASON

Otago Daily Times, Issue 18324, 15 August 1921, Page 3

COMIC OPERA SEASON

A SUCCESSFUL OPENING. ‘•THE GONDOLIERS.'’ It is doubtful if the combined genius of iwy men lias over given lo uie world a Uillor mcasuro ol amusement and music than Gniieri and Sumvan. Gilbert a pungent wit ami punned sarcasm are well enough known, apart Horn the association ol Jus name with that oi Sullivan. At oil persons 1.~.e read Ins '‘Dab Lullads” will! Keen enjo.yment, and will know that some of these have formed the nucleus of sticlr operas as "Pinafore.” High officialdom was always a. favourite subject tor satirical relerenee, but trio satire never belonged to what may be called the illnatured kind. Gilbert s burlesque sketches were invariably endorsed by the public as correct, oven if a bit too highly coloured, and the tact that what he drew was true to type, and known to exist in a modiliccl form was a pretty sale introduction to popular favour. Sir Arthur Sullivan, anterior to his association with Gilbert, had made u name lor himself as a musical composer, and bis remarkable powers of adaptation are made apparent in ids setting of Gilbert’s words to music in the operas the two have produced. It is as a writer of comic opera that Sullivan is best known. Such is a very brief reference to two men, both now passed away, whose work is never likely to be forgotten, and is at intervals revived by amateur and professional, who, if they fail in creating the impression on an audience they wish to, can only blame themselves. The material they have to work upon is of the best quality, and it becomes only a question of adequate representation.

J. C. Williamson (Ltd.), fully understanding that a Gilbert and Sullivan tour was certain to meet the taste of everyone, if competent artists were engaged, and all necessary accessories provided, has started such a tour, and on Saturday night opened a season of about a week in His Majesty’s Theatre to an audience that left no room for "another patron in the auditorium. The opera selected was “The Gondoliers,” which is a general favourite with the public, and is brimful of pretty music, and bright humour, with a dash of the Gilbertian about the dialogue. There could bo only one opinion about the performance of the opera;—it was an unqualified success so far as all essentials went. Iho company is a very strong one musically; an unusually strong leature being tile excellence of the maio soio voices. It frequently happens that the male soloists in comic opera are not by any means too liberally equipped in the matter ol voice, but no accusation ot that kind can lie supported m rlie present case. Both the actors filling the parts of Marco and Guisoppe, the two Gondoliers who are called upon to reign jointly until the ''which is which” question has been settled, are vocalists m the truest sense ol the word, and there is no opening eten lor the carping critic tor genuine lault-fincling. Both ißng their music remarkably well; Air James Hay’s rendering ot •"lake a Pair of Sparkling Eyes” standing out as a most artistic effort. That was the opinion of the audience, and it can be warmly endorsed. His voice is a tenor while that of Mr Frederick Hobbs (Guiscppe) is a heavy baritone. As a result, the linking of these two voices in duet work is productive of gratification to the audience, and this opinion can be extended to the quartette and quintette, work. It is not a case of nondescript voices, or voices of practically equal quality taking part, but ot soprano, contralto, tenor, and bass being engaged. Mr Hobbs sang the rather ditticult song. •Rising Early in the Morning,” very capably; indeed his singing was of a high order all through the opera, though he was not quite so ligtit on his leet as his brother gondolier. The two young lady principals were Aliss Patti Russell (soprano), and Aliss Thelma Carter (contralto), who in the respective characters of Gianetta and Tessa, wore exceedingly clever, and sang well. Their impersonations were bright and lively, not much room being left lor increased sprightlinees of movement. Miss Russell made a complete success of the air concerning ‘•Woman’s Heart and Woman’s Hand,” which was recognised as one of the best pieces of vocalisation heard during the evening, and Mies Carter gave “When a Merry Maiden Marries” with capital effect. Both young ladies looked charming in their contadine costumes. The singers mentioned are the four conspicuous vocalists, with the comedy element removed, but two or three other very good voices were heard at intervals. Mr John Ralston as Luiz (afterwards the King of Baratoriu) has a capital voice, and with Aliss Cissie Vaughan, who played Casilda, the daughter of the Duke of Plaza-Toro, contributed very efficiently to the musical side of the opera. ’The recitative “Oh, Rapture,” and the duet, ‘■There was a Time,” were notably well sung by them. Another member of the company who made an excellent impression as a vocalist is Mr Charles Mcttam, whoso solo in the early part of the opera at once proclaimed him to bo possessed of a voice of good resonant quality. The two comedy parts were filled by Mr Charles VVnlonn and Mr Albert Kavanagb, who appeared as the Duke of Plaza-Toro and the Grand Inquisitor respectively. Mr Walenn scored well as the pompous but impecunious Duke, who is floated into a limited liability company. His by-play and his asides were very effective, and it was he who, by his slage activities, gave a fillip to the action of the opera. His opening number “From the Sunny Spanish Shore” was capitally sung, and “In Enterprise of Martial Kind,” which immediately followed, secured for him a recall. In the closing scone Air Walenn put a great deal of clever work into the stately gavotte. Air Kavanagb, in the role of the Grand Inquisitor, was perhaps a trifle too benevolent in manner and appearance. He was not altogether in keeping with the “torture chamber” idea. Still hie comedy was very telling and very effective, and he kept the audience thoroughly amused. His songs. “No Possible Doubt Whatever,’’ and “There Lived a King.” were both good examples of musical comedy. Aliss Molly Tyrell was satisfactory as the Duchess, her singing of her solo being warmly recognised. Tbo chorus work was most commendable. The choruses were not only correctly sung, but there was an absence of shrill soprano voices which are sometimes regarded as an indication of strength. One advantage the chorus lias in its favour is that the male and female voices are better balanced than usual. While all the choruses were well sung, the finest results were probably obtained in the finale at the end of each of the two acis. There are only two scenes, and those mo very good representations of the sphere of action. Th costuming is on the customary liberal scale, and the picture the slage presents is strikingly artistic, which can bo easily understood when it, is remembered that it is thronged with the picturesquely attired gondolier and contadine. The conductor, Mr Gustave Slapoffski, and the orchestra ho controls are to be warmly commended for the very efficient and helpful manner in which the instrumental music was supplied. The orchestra is evidently a strong feature of a strong company. “The Gondoliers” will bo repeated tonight only.