“IL TROVATORE”

Southland Times, Issue 20516, 19 June 1928, Page 7

“IL TROVATORE”

GONSALEZ OPERA NEW ZEALAND TOUR OPENS A BRILLIANT SUCCESS By common consent a division provides two classes, opera for millionaires and opera for the millions, and between the twain a great gulf is believed to exist, so wide in fact that the millionaires and the millions are said to have no meeting. This argument applies chiefly to the English-speaking countries, because on the Continent the divisions cannot be maintained. In this part of the world a lack of millionaires has had the effect of keeping away one section of opera and the paucity of the- millions has operated against visits of (he low-priced companies, until opera has become a novelty to this generation. Courage was necessary to prospect the field, but the Fuller management has not been lacking in this virtue and New Zealand seems to be entering a period in which it will become thoroughly acquainted with the works of the great composers, at prices which will bring them within easy reach of all. This adventure, it cannot be given any less gallant title, is rendered more interesting because it is taking productions in a foreign language to people who have been saturated with musical comedies they could under stand or music that was too trivial to excite thought, and asking them to enjoy it. That they do enjoy it is backed by incontestable proof. Last night the Municipal Theatre was crowded in every part when the curtain rose on the initial performance of the Fuller-Gonsalez Opera Company’s New Zealand tour and the enthusiasm which interrupted “11 Trovatore” at times and greeted the principals of the company at the close left no doubt about the impression made by Verdi’s beautiful old work. If any misgivings lingered they were swept away by the applause which greeted Mr John Fuller when he thanked the public for their generous response to the announcement of a season of opera in Invercargill. The barest hint of a return season next year would have evoked a salvo of approval. All performances of opera resolve themselves into comparisons and comparative valuations, but first of all this company organized by the Gonsalezs must run the gauntlet of a comparison with the combination they brought to the Dominion some sixteen years ago. Time softens the sharp edge of judgment, a fact that is against the present company, but making no allowance for the palliation of the years, the 1928 company excels its predecessor in every department. Last night’s production of ”11 Trovatore,” if figures can be employed in such gentle circumstances, was five hundred per cent, better than that given in 1912. The vast superiority of the scenery and dressing was in strict keeping with the advance made in the principals who last night gave one of the best balanced performances of 'Verdi’s opera ever heard in this country, and this under conditions which put the singers under a severe handicap: they landed after a trying sea voyage yesterday morning. If the cast last night is a fair sample of the strength of the company, the season in Invercargill is going to move from triumph to triumph and Mr Fuller’s warning that the public would find five nights all too short will be fully justified. This company of 1928 has an advantage of pinning its dependence to young artists. The voices are fresh and some of them suggest that this country is fortunate in hearing them when they are at the threshold of great careers. One Is tempted, for instance, to become prophetic in the case ot Signor Alessandro Rota, whose Manrico last night was very effective. Signor Rota possesses a tenor of considerable power and of excellent quality, particularly in the middle and top register. It will develop a little more fire and one may expect his singing to broaden with experience. To-day it is a voice that impresses the audience with its substantial quality, but Signor Rota lacks the fine palette of colours which Signor Izal, for instance, can command in his splendid baritone. Signor Rota’s scenes with Azucena were his high moments, especially the spirited “Mai reggendo” leading into the duet “Sino all’elsa,” but the emotional conclusion found him also effective histrionically and vocally, the scene with Azucena and with Leonora being extremely good. Signor Rota’s intense singing is excellent, but in the lighter passages he lacks finesse, and a capacity for full shading. In the Miserere scenes, wherein the chorus was over-emphatic and not true, he was flattened slightly in his opening, but that was pardonable in the circumstances. Signor Izal, who came with less heralding than the tenor, impressed the audience at once with the glorious quality of his baritone, a voice that moves evenly along its whole register and is full of colour. Histrionically, Signor Izal has to trust to his voice alone, but it is enough. His singing is true and always steady, but it is never wanting in those qualities which go to interpret the text through the music. His “Il balen del suo” in the second scene of Act II was splendidly done: the treatment of this beautiful love aria was wonderfully effective and in another vein he rose to heights in the scene with Leonora where she finally promises to marry the Count if he will spare Manrico. In one night Signor Izal has ,established himself and throughout the season here his appearances will be welcome. He is a baritone of fine qualities and of great possibilities. Signor Fumagelli the bass sang the music of Ferrando with distinction. He has a resonant bass, and his treatment of the “Abbietta Zingara,” in lhe opening scene was broad and effective. The soprano in “11 Trovatore” is not treated as kindly as she should be, but Signorina Sylvestri, after a dubious opening, improved wonderfully as the music made greater demands on her. The more dramatic scenes in Leonora’s role gave her the scope she required. The meeting with Manrico in the Cloister scene was a delightful piece of work in lighter vein, but in the scene with Count di Luna beginning with lhe aria “Mira, di acerbe” and later with Manrico she achieved a signal success. The last scene of all was developed with fine skill and effective histrionizm. Signorina Sylvestri’s dramatic powers are undeniable, and in a role which gives her opportunities to develop them she is undoubtedly impressive. Signorina Nine Algozzino was the best actress of the cast and her Azucena was a telling piece of work in character and vocally. Apart from an unexpected unsteadiness in the upper portion of 4 h<> middle register, it is a contralto of fine quality and adequate range, while it is a flexible instrument for the delineation of the emotional and dramatic substance of Azucena’s music. The scenes following the Anvil Chorus gave the first taste of the range of Signorina Algozzino’s interpretative range, ‘‘Stride la Vampa” and the later duet with Manrico were very fine, and so also was the scene opening the third act, with its plaintive “Gionni poveri.” The famous duet “Ai nostri monti ritorneremo” did not live up to expectations, for which the audience could blame the late arrival of the steamer. Azucena is an exacting role and Signorina Algozzino at no stage spares herself or her voice. It was a very fine performance, which went a long way, to making “Il Trovatore” the high success it was last night. The chorus though not properly balanced, has a splendid male section, which was heard at its best in the cloister scenes with the Count and Ferrando and again at the close of the act. The Anvil Chorus lacked spirit and in the Miserere the offstage singing was not quite up to pitch. There is a fine body of tone in this chorus, and one can look forward to the opportunities the other operas of the season will offer. Under the baton of Signor Ernesto Gonsalez the production was taken brightly and with effect. In a first performance the orchestra was not always safe, but in the heavier numbers it was very effective. To-night “Rigoletto” will be presented.

THE STORY OF RIGOLETTO. (By “Presto.”) In “Rigoletto” Verdi reached his melodic zenith. The theme is taken from Victor Hugo’s “Le Roi s’amuse,” the text being written by Piave. First produced at the Fenice Theatre in Venice on March 11,1851, it reached London two years later, being presented at Covent Garden on May 14 of 1853. In the original play the tenor role was the King, but Verdi had to change the rank to that of a Duke in order to secure permission to put the opera on the stage. The opera deals with Rigoletto, the hunchback fidus Achates of the Duke of Mantua, a profligate whose life is a series of adventures with pretty women of high and low degree. In the first act the scene Is laid in the ducal palace where the Duke of Mantua (tenor) after a brief dialogue with one of his friends sings of his conquests and the fact that all women are fair to him “Questa o quella.” Monterone enters. His daughter has been betrayed by the Duke with the help of Rigoletto, and he curses the seducer. Then comes the scene between Rigoletto and Sparaficule (bass), bravo and assassin, wherein the hunchback in reply to his offer to work for pay sings “Pari sismo” (We are equal I realizing there is no difference in them, both are steeped in infamy. Then Rigoletto sings “Io la lingua, egli ha il Pugnali” venting his rage on the courtiers who mock him for his misshapen figure and his part in the Duke’s amours. Rigoletto seeks out his daughter to make sure of her safety following Monterone’s curse and they sing “Deh non parlare al misero” (Dear child, recall not to my mind”) in which Gilda, the daughter, asks

her father about their life. He has kept her in a convent to protect her from the Duke and she knows nothing of Rigoletto’s real character. In agony he bids her not to ask him about the past. But the Duke has found Gilda and their love is mutual. They sing the love duet “Addio, Sperranza ed Anima” and she follows him singing “Caro nome” (dear name) declaring her love for him. He goes and then the courtiers, egged on by Monterone, and assisted by Rigoletto, who thinks the prey is some one else, abduct Gilda singing the sole staccato chorus “Zitti, Zitti.” This closes the act.

In Act II the Duke in his palace singM “Ella mi fu capita” (She was snatched from me) mourning the loss of Gilda whom he cannot find. The aria “Parmi veder le lagrime” (Each tear that fall) is a description of what he believes to be the sufferings of his loved one. As he finishes the courtiers enter to tell him they have locked Gilda in the Duke’s apartment, “Scorrendo uniti remota Via.” The courtiers thought Gilda was the jester’s mistress, but in “Povere Rigoletto” (Poor Rigoletto) wherein they taunt him and tell him Gilda is with the Duke, they discover she is the hunchback’s daughter. In “Cortigiani, vil dannata” (Vile race of courtiers) he gives vein to his fury and then in despair begs the courtiers to help to rescue her. While lhe courtiers jeer at him Gilda suddenly enters and confesses everything, her own betrayal by the fickle Duke. With Rigoletto she sings the duet “Piangi, fanciulia” (Weep not my child, Gilda, Gilda, my daughter!. Rigoletto swears vengeance in spite of the pleading of Gilda, who loves the Duke "Si, vendetta, tremenda vendetta.” He hires Sparafucile to kill the Duke and the assassin lures the Duke to a lonely inn. There the Duke sings “La donna e mobile” (Woman is fickle). The Duke meets Maddalena (contralto). Sparaficule’s sister, and makes love to her. Gilda and Rigoletto hear them and the famous quartette ensues “Bella figlia dell’amore” (Fairest daughter of all graces). Sparaficule has arranged to stab the Duke as he enters the inn, but Maddalena, infatuated with the Duke, persuades her father to spare him and kill whoever enters the hut instead. Gilda hears the quarrel between the two and being in male attire enters. She is stabbed by Sparaficule, who puts the body in a sack and delives it to the gloating Rigoletto. Then the Duke’s voice is heard and the jester opens the sack to see whose body it is. He finds his daughter who dies in his arms blessing him and loving the Duke “Lassu in Ciel (In Yonder Heaven ).« With a cry Rigoletto says “At last the curse hath crushed me,” and falls across the dead body of his daughter, the victim of the Duke’s perfidy.