“Rigoletto” Was Triumph For Basiola

Otago Daily Times, Issue 27081, 16 May 1949, Page 6

“Rigoletto” Was Triumph For Basiola

The outstanding feature of Saturday evening’s performance of Verdi’s “ Rigoletto ” by J. C. Williamson’s Italian Opera Company was undoubtedly the work of the great tragedian, Mqrio Basiola, in the title role. It was a strongly drawn characterisation of compelling sincerity and earnestness which stirred the audience to its depths and left it emotionally exhausted. Perfect casting in opera is relatively rare because vocal requirements take precedence of personal and temperamental fitness for a part. Basiola as Rigoletto was as ideally cast as Chaliapine in “Boris” and an artist of comparable dramatic power. In common with many other operas the libretto of “Rigoletto” has many weaknesses especially in the last act, which is all too reminiscent of popular murder-mystery stories. But there is an interesting psychological situation which develops round the two principal characters. The Duke, handsome and rich but profligate and heartless, is set against Rigoletto, the hunchbacked jester, whose unlovely exterior hides a complex character capable of strong emotions of love, anger and hatred. Alvino Misciano, whose lyric tenor Voice has been heard in other'successful roles during the past busy week, was obviously suffering from overwork which showed itself in a tendency to flatten. The second act, which contains some of the most difficult and lovely arias and concerted singing in all opera, lacked its usual charm mainly through faulty intonation which the cast passed from one to the other. This was not to be wondered at considering the amount of heavy work done by both Misciano and Basiola during the week. But just at the end the whole atmosphere was changed and the curtain went down to tumultuous applause. Perfect pitch was restored by the chorus of conspirators singing from one of the wings and the act came to a dramatic climax with Rigoletto rushing up the stairs calling despairingly for Gilda. whom he has arrived too late to save. , T The part of Gilda was sung by Jean Campbell, a young Australian soprano who looked lovely and had a voice which can be of gossamer lightness and flute-like in quality as well as dramatic and fairly powerful. Her work throughout the third act was most pleasing to the eye as well as to the ear. The quartet sung by the Duke, Maddalena, Gilda and. Rigoletto was excellently done. The rich, warm tone of Dora Minarchi’s voice in the part of Maddalena and the robust quality of Augusto Romani as the assassin, were a welcome addition to the third act. The Count Monterone (Plinio Clabassi) pronounced the curse with the ringing sonority of a true basso and with a dignity that was strengthened by his impressive stature and bearing. . , , Manno Wolff-Ferran had a strenuous evening directing the orchestra and watching tj?e many interests on the The producer made the _ first act a most attractive pageant bristling with movement, colour and old-world charm. The thunder and lightning and eerie effects of the final scene were realistically done. Those who find such obvious realism offensive in its association with good music (and I am one) can only blame the composer, not the producer. It may help to make t “ Rigoletto ” a hot favourite but it gives an uneven quality to an opera that contains some of the finest theatre music. „ M. M.