GRAND OPERA SEASON.

Sun (Christchurch), Volume VI, Issue 1853, 22 January 1920, Page 6

GRAND OPERA SEASON.

"CAVALLERIA RUSTICANA" AND "I PAGLIACCI." The juxtaposition of the two operas, "Cavaileria Rusticana" and "I Pagliacci" in one evening's performance has become a regular practice, but its wisdom may be doubted. They are both tragically dramatic, reaching the heights (or depths) of poignant human suffering, and the music, is strenuous and tense to a degree, often purely melodramatic, and containing a large admixture of garish boisterousness. Further, the mainspring of the two stories —that of domestic, infidelity culminating in murder —is the same, and the methods of their composers identical in many important respects, which points of similarity leave no room for contrast whereby musical and dramatic effect is so greatly enhanced. Strong excitation of the emotions can be carried too far, and on the occasions when one of these operas has been bracketed with another of a more placid type, the gain has been considerable. In comparison with the most recent works of the young Italian school, Mascagni's "Cavaileria Rusticana" ("Rustic Chivalry") can scarcely be said to have the same prospects of longevity, although it Will doubtless continue for a long while to attract and hold that large section of the musical public which firmly believes the "Intermezzo" to be high-class music. Looked at, however, with a more prophetic eye, it may be said that for Pietro Mascagni the writing is on the wall, the methods of Puccini, with his much longer list of successes, having proved the superiority of his art. Last night's performance by the Williamson Company was undertaken by an extremely capable cast, of whom most cordial praise must be awarded to Signor Vittorio Lois for his outstanding work as Turiddu. Both in singing and acting one can hardly recognise him as the same artist who appeared with the Gonsalez Company, his- vocal method in particular having undergone a remarkable metamorphosis. His dramatic force in the famous Drinking Song, his beauty of voice iu the opening Serenade, and his passionate declamation throughout the opera were all so noteworthy as to clearly indicate possibilities of a future for this very young singer. The fact that he aang in his native tongue was possibly unavoidable, although a three years' residence in an English-speaking country should have been sufficient to remedy this. But the incongruity of making two of the Australian principals follow suit did not improve matters —rather the reverse. Distinction was lent to the part of Santuzza by ,Miss Leah Myers, a forceful and dramatic performer, who utilised many telling touches of realism and much expressive singing. Unevenness of scale is her chief drawback, and so fine a voice is clearly entitled to more judicious handling. The remaining characters of Lola, Lucia anil Alfio were eapablv looked after by Miss Elsy Treweek, Miss Rosa Carrodus and Mr Fred Collier respectively. Both orchestra and chorus combined with -the soloists to give a singularly complete performance, the popular "Easter Hymn" and the "Intermezzo," in common with several other well-known numbers, being received with very genuine enthusiasm. "I Pagliacci" ("The Strolling Players") was Leoncavallo's maiden effort in the field of opera, being produced but two years later than Mascagni's first work "Cavaileria." Musically it ranks considerably higher than the latter—its melodic phrases are less commonplace, and its orchestration is of a far higher standard—and the general atmosphere of this "play within a play," with its occasional comedy episodes, is distinctly less strenuous. Although no one artist stood out in quite so commanding a fashion as Signor Lois in Mascagni's work, the production, from this reason, may be said to have gained in its general effect! Miss Eileen Castles (Nedda) is scarcely broad enough in her methods of acting and singing to do full justice to the heavier phases of the part; but she is eminently acceptable in those which demaud the qualities of lightness and delicacy, her singing of the "Bird Song" being delightful. Mr Carl Formes, as Tonio, was most happily placed, his histrionic, faculties, in which a gift for comedy was disclosed, coining more to the fore than in any of his previous appearances. His singing of the Prologue secured him some bounteous applause, but it was marred by an over-emphatic and exaggerated delivery. High lights are necessary in dramatic singing, just as in painting; but contrast is also required. The part of Canio, allotted to Mr Walter Wheatley, gave this gentleman an unexceptionable opening for his beautiful voice and powers of emotional expression, both finding their I culminating point in the heartrending "On With the Motley." It is a pity his enunciation leaves room for improvement, as in almost all other respects he is so entirely satisfactory. Mr Fred Collier (Silvio) made his second appearance of the evening, his splendid organ, allied to great clearness of utterance, enabling him to claim much of the success which was achieved in the fine love duet with Nedda. The graceful solo attached to the part of Peppe disclosed Mr Browning Mummery as the owner of a somewhat exceptional voice, and added experience should make him a performer fit to be trusted with a role of some size. To-night Gounod's "Faust" will be repeated, with the same excellent cast as did duty last Friday, and on Wednesday next a special matinee of "The Tales of Hoffman" will be given, owing to the enormous demand for seats for its presentation on Tuesday next.