Great Heights Were Reached in Opera "Tosca"

Otago Daily Times, Issue 27080, 14 May 1949, Page 8

Great Heights Were Reached in Opera "Tosca"

Last night’s presentation of Puccini’s lurid melodrama, “Tosca,” by J. C. Williamson’s Italian Opera Company added another outstanding success to an already brilliant season. It was lavishly staged with period costume and elegant sets, the acting had quality and compelling sincerity, and the singing of the three principals, Mercedes Fortunati as “Tosca," iVia'io Basiola as Scarpia, and Alvino Misciano as Mario, was virtuosity of a high order.

Though the menacing and bestial character of Scarpia dominates the stage from 1 his first entry until, at the end of the second act, he lies stabbed to death by Tosca’s hand, Tosca carries the dramatic interest through the third act till the final curtain as she plunges to death from the parapet. Mario Basiola’s characterisation of Scarpia was superb. The villain in music is almost a contradiction in terms, for music portrays good rather than evil, beauty more easily than .ugliness; but Puccini’s Scarpia is a /blood-curdling majestically tyrannical naans ter.

Scarpia does not create his character entirely on the stage. The orchestra sounds out his sinister motive as the curtain goes up and helps to build him up in every scene throughout. His theme consists of three harsh chords the progression of which is held up between the second and third chords by a terrifying drum crash. Basiola’s singing of this part was first rate and while he had no chance of showing his lyric power, his lighter touches in the love-making scenes showed great versatility. Mercedes Fortunati’s , “ Tosca ” was outstanding. Intensely dramatic acting, magnificent singing, a finished stage presence and the loveliest of gowns all added up to make her performance something that will remain a vivid memory for all who saw and heard her. She sang the well-known aria, “Vissi d’Arte,” with great simnlicity and charm. Alvino Misciano as Mario has a lyric tenor voice of liquid quality and expressiveness. His aria “ E lucevan le stelle” was beautifully done and.in his love scenes with Tosca he was capable of great tenderness and passion The Sacristan, Carlo Bardioli, gave a delightful touch of humour to his acting and was effective in his singing of the “Angelus ” . The love duet between Mario and Tosca in the third act was marred by faulty intonation and the voice of the prompt * was heard throughout the scene. His art cannot lie wholly in concealment, but there can surely be some compromise so that the spontaneity of important moments is not lost. The orchestra under Maestro Ghione was the better half of Puccini’s score. Particularly refined and delicate was the playing of the Prelude to Act 111. Ghione does not conduct the orchestra but directs the opera. It is his show. M. M.