FULLER-GONSALEZ OPERA COMPANY.

Otago Daily Times, Issue 20451, 4 July 1928, Page 8

FULLER-GONSALEZ OPERA COMPANY.

“UN BALLO IN MASCHERA.” The music lovers who, ou account of the unfamiliarity of the opera, “ Un Ballo in Maschera,” were not present at His Majesty’s Theatre last night, deserve deepest sympathy. They have lost an opportunity which, so far as this season is concerned, will not occur again, and they will thus miss one of the great artistic memories of a lifetime. " tin Ballo in Maschera ” was immense. There is no other term for it. There can be little question that it is the piece de resistance of the company's repertoire. All the operas performed have had their thrilling moments, but last night's performance w as I thrill from beginning to end. It is doubtful if Dunedin has ever before witI nessed such a galaxy of star performers jas formed the cast on this occasion. Imagine two magnificent prime donne, I a tine mezzo-soprano, a baritone who must rank with the finest in Italy, and two bassi profundi whose inclusion in almost any cast would secure its success; add to this a tenor who takes his place beside the finest who have ever visited Dunedin, one gifted with really great histrionic powers, a commanding presence, and a voice of great power and raime, every note under perfect control; add yet a chorus of fresh resonant and powerful | voices, excellent costuming and effective scenery, and some idea of last night’s ! triumph may be gauged. That the audience did not pack the house from floor to ceiling is a matter for profound reget. i It would be safe to prophecy that a i repeat performance would find His Majesty's Theatre far too small. It is to he sincerely hoped that a possible tinfamiliarity with Rossini's opera, " The Barber of Seville,” will not prevent music lovers from packing the theatre to-morrow night. With Seamuzzi as Figaro, and a cast equal to that which performed last night, there is every probability that last night’s triumph will be repeated. ”Un Ballo in Maschera is the fourth of the great operas of Verdi’s middle period, it fell into abeyance for a considerable number of years, but was rej cently revived in Europe with enthuaias- ! tic success. The reason for that success was fully apparent at_ last night’s performance. “ tin Ballo in Maschera ” and Rigoletto are infinitely superior to “La Traviata ” or “ II Trovatore.” In both the former operas the characterisation is clear and accurate. They abound in vivid and striking contrasts of characters, and the music is eminently suited to each. In the opera presented last night the gay and brilliant music allotted to Oscar, the page, throws into strong relief the more tragic portions of the scene. Last night’s performance was superlatively good from start to finish. The opening chorus set a high standard, and the presence on the stage of both Sigs. Fumagalli and Alfieri as Samuel and Tommasso, with the tremendous resonance their rich voices added to the chorus, made the opening scene thrilling and impressive. Sig. Rota, as Riccardo, received an ovation on his first entrance, and his work throughout the evening, both vocally and histrionically, reached a standard of exceptional excellence. His conception of the part showed us a man of high and noble qualities, who falls from grace for a moment, but who meets retribution with a noble courage and makes full atonement for his fault. Sig. Rota played the part with dignity in his every movement, and, in his hands, Riccardo never at any time forfeited the sympathies of the audience, and, by his bearing, dignified death. His singing of “La rivedra nell ’estari ” set a standard, of vocal mastery which he consistently kept up throughout the entire evening. Sig. V. Seamuzzi would ensure the success of any opera, even though the remainder of the cast were poor. Judge, then, of last night’s performance, where he was supported by a cast of extraordinary brilliance. His voice is of the richest quality ami of almost unbelievable power. He gave ius opening solo, “Alla vita die t’arridc,” a beautiful cantabile treatment, and the audience would fain have had him repeat it. Indeed, so enthusiastic was the reception of almost every number that had Sig. Gonsalez gratified every demand for an encore the performance would not yet have finished. Seldom has the part of Oscar, the page, been more daintily and charmingly played than it was by Signorina Flor last night. She sang with effortless ease, she moved with graceful lightness, she looked the part to perfection. Verdi has written for Oscar some of his most lilting and beautiful melodies, and Signorina Flor, in the first act, rendered “Volta la terrea” with bewitching grace. The ensemble Finale was worthy of what had preceded it, and the conversation in the audience during the interval had but one theme, “ I would rather have missed any opera of the season than this one.” The second scene in Act I opened in the hut of Ulrica. It was an extremely palatial hut, and some of the furniture, notably an occasional table, was extremely modern, but these are incidents. Signorina Algozzino, in the part of Ulrica, repeated her triumph as Azucena. Her acting and singing were in accord with the best traditions of the part, and her principal solo, “ Elui, ne palpiti,’ left nothing to be desired. Signorina Rosita Sylvestri has gained golden opinions by her voice, stage presence, and personal charm in “ Trovatore ” and “ Nonna.” Her performance last night as Adelia added to her lustre. The part of the unfaithful and grief-smitten wife is an extremely difficult one, but in no part has Signorina Sylvestri’s artistry been more apparent. Her first appearance in the terzetto with Ulrica and Riccardo was an index of what was to come, and her redering of the phrase, “ Consentimi, o Signore,” will linger- in the memory when much else has passed away. The whole scene was on an exceptionally high level, and the final chorus, one of Verdi’s most thrilling ensembles, produced a literally gorgeous body of tone. Act II presented the meeting of Riccardo and Amelia with, later, the arrival of Rcnato and the conspirators. Signorina Sylvestri gave her opening solo, “ Ma dal! ’arido,” with deep pathos, and both she and Signor Rota rose to heights of greatness in the long and exacting duet which follows. Signor Seamuzzi, as Renato, was the incarnation of dignity, and his acting in this scene with Signorina Sylvestri, and later with the conspirators, calls for superlatives. The mocking chorus of the conspirators, who quite misunderstand the significance of Amelia's presence, was ably done, and maintained the marvellous standard observed from beginning to end of the opera. The duet between Adelia and Rcnato, with which the third act opens, was a particularly vivid piece of acting, and further demonstrated Signor Scamuzzi's apparently tireless voice. It is questionable if “Eri’tu” has ever been better sung. The insistent demand for an encore could not be ignored. The wonderful voices of Sigs. Seamuzzi. Fumagalli, and Alfieri made it impossible that their succeeding terzetto should be anything but a triumph, and. with the addition of Signorina Sylvestri, the quartet was overwhelming. With great skill Verdi eases the tension after the tense emotion of the preceding numbers by the introduction of Oscar who brings with him the freshness of youth and sunshine into the house of tragedy. Signorina Flor carolled the exquisite air “Di che fulgor ” like a lark. It seemed impossible that any air could suit her fresh young voice better, and the concluding quintet could have been heard over and over again. Scene 11, act ITT, brings the culmination of the tragedy, the setting being a masked ball in Riccardo's house. The only criticism would be that the chorus presented rather a study in still life than the guests at a fashionable dance. The* presence of the conspirators causes an air of gloomy foreboding to envelop the bright gavotte played by the orchestra. At the'climax of a duet with Adelia, Riccardo falls by the assassin's knife, and the assassin is his friend Renato. The scene was an intensely moving one. Signor Rota, in the death scene, brought out to the full the immense capabilities of the part. Signor Seamuzzi painted the remorse-stricken Renato to the life, and the final chorus closed the opera with a gentle beauty. The parts of Silvan and the Chief Justice were admirably filled by Signors Gilardi and Gislon. Signor Giovanni Gonsalez conducted a performance which must have given him infinite pleasure, and is eloquent of his painstaking work. Gounod's “Faust” will be presented this evening.