FULLER-GONSALEZ OPERA COMPANY.

Otago Daily Times, Issue 20450, 3 July 1928, Page 10

FULLER-GONSALEZ OPERA COMPANY.

‘•CARMEN.” The acme of perfection in operatic composition has been reached by Richard Wagner, and the most perfect opera in the world is "The Mastersi'ngors.” Outside of this work and probably " Tristan," a consensus of opinion would almost certainly place ‘‘Carmen” at the head of the poll. There are a few, a very few, works of art which stand the supreme test of being acclaimed not only by the musician, but equally by the non-technical music lover, e.g., some of the Messiah choruses, some Beethoven slow movements, some passages in Elgar, etc. In opera such a place is held by “ Carmen,” which professional and layman both acclaim as very near perfection. Rubinstein, by no means a lover of grand opera, said that he was unable to play the last few pages of “ Carmen ” on the piano without being overcome by his emotion. The Finale is unique in operatic writing. It is little wonder, then, that last night’s audience packed His Majesty’s Theatre to the doors, when this great opera was produced by the Fuller-Gonsaiez Company. “ Carmen ” was first produced at the Opera Comique in Paris. It was written by Bizet at the height of his powers. He unfortunately did not live to see its triumphant course, dying only three months after the first performance. It is difficult to analyse perfection, but some of the outstanding features of the opera may be suggested. The remorseless unfolding of the story suggests something of the inevitability of Greek tragedy. There is not a superfluous scene, the whole is constructed with consummate stagecraft, and the final denouement is probably the most powerful climax in opera. The orchestration scintillates with a web of magic colours. The reason that it did not scintillate last night has been explained by the management. The declamatory passages vibrate with a nervous energy unparalleled in opera. The brilliant use of Spanish melodies and Spanish rhythms maintains a consistent atmosphere right through the piece. Last, but by no means least, the work abounds in lovely melodies and stirring ensembles. The name part has been played in many ways. Calve made of Carmen a rather brutal and animal character, which, while it attracted many, repulsed many. Trebelli and Patti gave a quieter and more restrained reading of the part. The phase of Carmen, however, which must at all costs be brftiglit out, is her tremendous attractiveness and vivacity. Signa Nina Algozzino gave a noteworthy performance of Azucena in “II Trovatore,” and her appearance as Carmen was awaited with very great interest. It was both satisfactory and unsatisfactory. In the tragic developments of acts 111 and IV, her performance could hardly have been bettered. In these acts she created a Carmen that lived, one worthy of her proud boast, “No, no. Carmen no fetters shall tie! Free she was born, and free she shall die.” But in the first and second acts she entirely failed to create a character attractive enough to lure Don Jose away from Micaela, and to cause him to even desert his regiment for her sake. Her movements lacked grace, and at times, notably when she on two or three occasions put out her tongue at Zuniga, she made the gipsy girl repellant, a quality she entirely lacks. She must be alluring, the embodiment of sinuous grace, with a strong tinge of devilment and boldness, but never anything but desirable. In the climax of the tragedy, Signorina Algozzino rose to heights of greatness, but in the first half of the opera her acting was unconvincing. Signor A. Tamburini, as Don Jose, made the common mistake of operatic tenors of “ tearing passion to tatters,” to such good purpose in the earlier stages of the opera, that he had nothing in reserve for the climax. His acting and singing in the last scene were immensely good, but would have gained tremendously in effect had his progress to heartbroken despair been more gradual. The Caruso-sob made its appearance in his voice near the beginning of the first act, ami was seldom absent from there onwards. The last 28 bars of the Prelude were omitted. This was a pity, as they announce the sinister “curse’’motive,which so effectively marks the progress of tne tragedy and completely dominates the final scene. The first act took some little while to get going. It is, of course, impossible for a travelling company to carry a large chorus, and operas such as “ Faust ” and “ Carmen ” demands a large chorus. The lack of numbers was not felt in the ladies’ section, but as the meu bad to be divided up into soldiers, gipsies, etc., each section was, as a result numerically small. The entrance of Micaela was effective, and Signorina Maria Henkina played the part with great charm and a thorough knowledge of its artistic requirements. The chorus of cigarette girls was thoroughly well sung. Nothing but praise can be given for the singing of the chorus in every opera, but more attention could be paid to grouping and actions. There is a strong tendency for the chorus to line up in front of the footlights rather like a choral society in fancy dress, and sing without any attempt at dramatic fitness or appropriate gesture. The Habanera went with a swing, but hardly made the effect it generally does on the audience. The scene between Micaela and Don Jose was well acted, and their duet, one of the most beautiful duets m opera .was well sung. Signorina Algozzino sang the famous Segindilla very well, taking the B in alt, with .which the number closes, with ease. The vocal demands made upon contralti in French grand opera are severe. Both in “Carmen” and in “Samson et Dalilah,” top B’s are common. The fight at the end looked lather too easy. The second act was a- great improvement on the first. The Canzonet Bohemian with which the scene opens was very effectively rendered, the Ballet giving life and movement to the stage. The Toreador’s Song was a disappointment. Signor F. Izal, who so thrilled us as Rigoletto, seemed to be not at home in the part of Escamillo. Much of the writing is for the lower and middle registers and Signor Izal’s fine baritone voice is at its best in the upper register. The fine swing of the number, however, and its effective chorus ending made an encore inevitable. The two most effective ensemble numbers in this act, indeed, in the whole opera, were the two quintets sung by Signorina Algozzino, Mazza, and Pfnmmer and Signors Gislon and Gilardi. They were immensely fine. A wealtli of novel and effective detail was introduced, and the numbers have seldom been better rendered. Carmen’s song to Don Jose, with its effective accompaniment of two trumpets suggesting the retreat played in the distant barracks, went very well. Sig. Alfieri as Zuniga sang excellently, but hardly seemed to take his part very seriously. He appeared to regard the mutiny of Don Jose, and his own subsequent expulsion by the smugglers more in the light of regrettable misdemeanours than matters of serious import. On the other hand Signorina Algozziuo’s acting, when Carmen mimics Jose’s anxiety to depart and the distant bugle calls, was a fine piece of description, and made that part of the story of the opera quite unnecessary. ’ ' Act 111 opened splendidly. The card trio left nothing to be desired, and Micella's great aria. “ I said nought should frighten me here,” was beautifully sung. The duel with knives between Excamillo and Don Jose failed to suggest the remotest possibility of either of the combatants being hurt, but the acting of Don Jo* and Carmen in the finale was splendid. In the last act the two principals were thoroughly in their element. Signorina Algozzino thoroughly understood the Carmen who was about to die, and invested the part with dignity and power. Sig. Tamburini gave a magnificent portrayal of the heart-broken and frenzied Don Jose, and the last act was an unqualified success, and deserved a far greater ovation than the lateness of the hour made possible. Rig. Gio‘ anni Gonsalez is to be thanked for his efficient musical direction.

“UN BALLO IN MASCHERA.”

■ The finest cast of the season will play Verdi’s opera, better known by its English title, “ The Masked Ball.” One of Verdi’s middle-stage works, it easily surpasses his better known “ Trovatorc, ’ " Traviata.” and “ Rigolctto,” and is little inferior in the quality of its music to ■•Aida” and “Otello’' —the masterpieces which placed Verdi on a pinnacle of fame for all time. Were “The Masked Ball ” as well known an opera as the earlier ones, it is safe to say it would draw a crowded house at every performance. It

has not been played as often as might be for the simple reason that its adequate presentation requires a cast of seven principals of the first class. It is therefore pre-eminently an opera for the FullerGonsalez Company, and its production in Melbourne and Sydney was the feature of the season in each of the Australian capital cities. Dunedin is indeed fortunate in being able to hear this magnificent opera with a cast which includes Kosita Silvestri, Marghcrita Flor (who has consented out of courtesy to take the role of the page Oscar"), Nina Algozzino. Alessandro Rota, Vicleffo Scamuzzi, Ernesto Fumagalli, and Antonio Alfieri. Such a profusion of operatia! talent has never before been heard on one programme in this city, and never may be again. It is for the public to respond to such a wonderful opportunity, and this opera will prove the surprise packet of the season. The last days are now close on us. Five more nights and these talented artists and singers will leave us—some of them never to return. And of those who may be persuaded to make a second Aus-tralian-New Zealand tour in the future it is almost certain that the next few years will find them world-famous artists, for they are in their early fresh youth now, and eacli performance—which is the practice of their art —finds them improving and perfecting that art. 'lt is also certain that they can never again be heard _at the more than moderate prices now being asked. The present occasion, therefore, is the one to seize—else it will pass, and may not come again. THE STORY OF THE OPERA. Verdi’s “Un Ballo in Mascbera” is an opera in three acts, the scene of which is in and near Boston. The period is the end of the seventeenth century. The opera was composed for the San Carlo, Naples, and first called “Gustavo III” (after an assasinated Swedish monarch), but after the announcement had almost created a riot in Naples, Verdi was forced to change the scene from Stockholm to Boston and the named to “ Masked Ball.” Finally it was thought best to abandon the Naples premiere altogether, and the opera was taken to Rome. There are many, of course, who consider the work old-fashioned —and so it is, not pretending at all to be a great music drama: but there are many far more ambitious works with certainly less real music. The first scene of Act I is a hall in the house of Richard, Governor of Boston. It is filled with people: officers, deputies, and gentlemen, who are waiting for the appearance of the governor. He enters, is warmly greeted _by those assembled, receives their petitions and inspects a list of the guests invited to the masked ball. He sees the name of Amelia, the wife of his secretary Reinhart, and in an aside sings a rapturous air. Reinhart enters and tells > the governor of a plot against his life. He enthusiastically praises Richard’s noble acts, and tells him his friends and faithful subjects will defeat the plans of the conspirators. A negro woman, Ulrica, is now brought in, and is accused of being a witch. Richard laughs at the accusation, and dismisses the woman. He calls his courtiers around him and suggests that for a lark they go disguised to the hut of the sorceress and consult her. Hie friends agree, and the plotters, headed by Samuel and Tom, see ii chance to further their plans. The second scene is the hut of Ulrica. It is crowded with people who have come to have their fortunes told. The sorceress stands over her magic cauldron and sings her incantation. She calls on the abyssmal king to appear and aid in her mystic rites. The governor arrives, dressed as a sailor, and accompanied by his companions. They are conversing with the witch when- a knock is heard, and all leave the hut by Ulrica s orders except Richard, conceals himself in a corner. Amelia enters and asks the sorceress to give her peace of mind by banishing a love which she cannot control. The witch promises speedy relief if Amelia will gather a certain herb from which can be brewed a magic liquor. Amelia asks for directions, and the witch proceeds. The girl consents to go, and takes her departure. Ulrica now admits the people again, and Richard, in tne character of the sailor, asks her to tell his fortune. Ulrica rebukes him, and, examining his palm, tells him he is soon to die by the sword of that friend who shaxl next shake his hand. The conspirators, Samuel and Tom, are uneasy, thinking themselves suspected, but the governor laughs and asks who wall grasp Ins hand to prove the prophecy false-. No one dares to grant his request. Reinhart, uho has become anxious about his chief and has come in search of him, now enters and, seeing the governor, shakes h'm by the hand 7 to the astonishment of all those not in the secret. Sir Richard tells the witch she is a false prophet as this is a most faithful friend. All the people greet the governor with cheers, and, Kneeling, sing a hymn. . „ ~ In Act 2 the first scene is a field near Boston, on one side of which is a gallonsAmelia, much fnghteifcd by her lonely surroundings, enters in search °* the: mag herb. Richard approaches, and the unhappy girl confesses that she loves him, but begs him to leave her. They aie interrupted by the appearance of Reinhart. who comes to warn Bichard that his enemies are lying m wait to murder him. Richard, unwilling to leave Amelia, is forced to ask Reinhart to escort the veiled lady to the city without seeking to discover her identity. Reinhart sweats to obey, and Richard makes his escape. The couple start for Boston, but are surrounded by the conspirators, who take Reinhart to be the governor. lb|J tear the veil from the lady s head, and Reinhart is astounded to see that she is his wife. Reinhart, now bent on revenge decides to cast in his lot ruth the t j ie sceue i s a room in Reinhart’s house, where he is denouncing Amelia for her supposed crime. Samuel and Tom enter, and Reinhart tells them that he knows of their plots and will issist them. They draw lots, and he is chosen to b; the assassin. After agreeing on the password, “ Death, the congpua tors retire. The second scene is the governor’s office, where Richard resolves to tear the unworthy love trom his hears and send Amelia and Reinhait to England. A page brings a note warning him of the plot, but he decides to brave his enemies. The third .scene is the grand ballroom, where Reinhart attempts to learn how the governor is told that his victim will wear black nitfi a red ribbon. Amelia meets the governoi and warns him against the conspirators, but Reinhart manages to stab him-- As he is dying the governor tells Kemfiart that bis wife is guiltless. The secretary is overcome with remorse, ami, a .® dying, the governor declares that he mall not be punished for his crime.