GRAND OPERA.

Waikato Times, Volume 103, Issue 17367, 31 March 1928, Page 17 (Supplement)

GRAND OPERA.

FULLERS’ SEASON IN SYDNEY.

“IL TROVATORE

The following is from a Sydney paper:—

Fullers’ grand opera season was

opened at St. James’s Theatre last night before a full house with “II Trovalore,” one of the most tragic of the melodramas chosen for the lyric stage, in which Verdi's individuality and theatrical tendencies were marked with the most startling effects. The revival was warmly welcomed, and the close attention that was observed during the performance must be taken as evidence that the old operas, with their riot of melodies, have still an irresistible claim upon the people. The cast was as follows:

Leonora, Signornia Rosita Silvestri; Azueena, Signorina Nina Algozzino; Inez, Signorina Matilda Pfrimmer: Manrico the Troubadour, Signor Alessandro Rota; Count di Luna, Signor Franco Izal; Ferrando, Signor Ernesto Fumagalli; and Ruiz, Signor Carlo Gislon; conductor, Signor Giovanni Gonsalez.

The opera, which was first produced in Rome in 1833, contains some of the best music of that period of Verdi’s maturity, before liie Teutonic influences were beginning to make themselves fell. 11 reached England under the name of “The Gipsy’s Vengeance" in 183(1, and despite llie later developments of the lyric art, due to Wagner and liis successors, it lias retained its popularity with “Rigolollo" and “La Traviala," which ranked with “Trovatorc” as Verdi's masterpieces before he astonished the world with\ “Aida," “Olello,” and "Falstaff.” Written in a period when composers had the. stars of the operatic art in their minds as they poured out ‘heir melodies, revivals of the work have always the effect of bringing to the memories of the audiences flic singing of the brilliant' artists who have passed through (he vivid scenes of suffering as painted in "Trovalore.” Last night, in the intervals between the acts, old opera-lovers took full advantage of the* opportunity newly afforded of making comparisons between the singers of the Fuller combination and those who had thrilled them in the past. Tragic Moments.

Attention was held from Ihe moment when Ferrando, Captain under the Count di Luna, sang witli the wild narrative of the burning of the mother of Azueena as a witch, thus laying the foundation of the horrible plan of the daughter’s vengeance, which closed, amid the most touching music, with the death of the lovers Leonora and Manrico, and (tic wild cry of the sombre and long-suffering gipsy Azueena to the Count: “You have killed your brother. ’’ The story reflects the superstition of (he age of which it was written, and the music the development of the gifted composer. And so through tiie opera. Many were present who had not seen it before, for in Sydney there are long gaps between opera seasons, long enough for a new generation to grow to thealre-going age. Impressive in accordance with the gentleness or fierceness of the mood, the music of sharp contrasts flowed on, with the dramatic choruses, and the resources of theatrical art to help the illusion. Admired portions of the opera were the stirring “Anvil Chorus" in the gipsy camp in the mountains, Azucena’s “Stride la Nampa,” "Fierce Flames are Soaring," the Count’s sentimental “II Baton.” the Troubadour passionate solos, Leonora's great seen, “D’Amor sull'ali Rosee" (“Love Fly on Rosy pinions"), and the famous “Miserere" of the last act.

Artistic Singing, Signor Alessandro Rota, helmeted and plumed, and wearing long brown curls, sang with fine vim in the defiant quarrel with the Count, and in the love scenes and final duets. The tenor’s voice is sweet and clear, as well as robust, the high notes being reached without strain. Signorina Bosita Silvestri’s Leonora sang with admirable zest in ttie garden scene. Her soprano, full and sweet, with abundant dramatic power, found excellent scope in “Love. Fly on Rosy Pinions," and in the “Miserere” seerie, in ttie tionours for which the tenor shared fully.

One of the most striking scenes in the opera was that of the duet between Azuccna. and Manrico in Hip mountain camp of ttie gipsies. Signorina Algozzino's voice has a fine range, and in the vivid narrative to Manrico she conveyed a sense of the picture with realistic effect.

Signor Franco Izal made a picturesque Count di Luna, with red cloak and hat and flashing sword. His “It Baton” was an effective and artistic effort. Signor Ernest Fumagalli sang the descriptive story to the Count’s retainers with the necessary power.

The members of the orchestra and chorus did good work.