FEAST OF MELODIES.

Waikato Times, Volume 108, Issue 18159, 25 October 1930, Page 17 (Supplement)

FEAST OF MELODIES.

LEHAR OPERETTA TRIUMPH. ACTRESS IN .TEARS. The instant and unusual hush which greeted the very first notes of the Franz Leiiar operetta “ Frederica,” at the Palace Theatre was a striking indication of the great esteem- in which this composer has been held ever sinfce “ The Merry Widow ” days, says a London paper. The merits of that old-time favourite, and the advance taste of the “ Frederica ’’ music through the medium of the gramophone, had prepared the audience for the treat which was in store for them. “ Frederica," which' is based bn a romance of the poet Goethe’s early days,-is the so far supreme example of a musical play in which the delightful melodies have triumphed completely over an utterly banal libretto. Mr Hislop’s Debut. For nearly three hours Herr Lehar has provided a feast of the most pleasing melodies which London has yet heard on the non-operatic stage—richly orchestrated and never cloying, and sung magnificently .by Mr Joseph Hislop (making his debut in a performance of this nature) as Goethe, and only a litlTe less well by Fraulein Lea Seidl, the Austrian musical comedy actress, as.the young daughter of the Sesenheim pastor who gives him up in order that he may continue his career unfetteredFortunately, there were very few periods when these two were not delighting us with Lehar’’S music—and arousing a frenzy of enthusiasm after both the familiar numbers, such as “ Maiden, my Maiden,” and the equally melodic songs which the audience was hearing for the first time. Because this music, coupled with the picturesque Sesenheim parsonage and Strasbourg drawing-room settings and tin villagers’ colourful costumes, has to make up for the play’s other deficiencies. The Parting Scenes. Fraulein Seidl, during her parting scene with Goethe, in the middle of the most beautiful number of the whole play, became so emotional that she was seen to be crying uncontrollably. It was left to Miss Vera Lennox, as Frederica’s flirtatious sister, to infuse with her vivaciousness some little element of life into the action of the play. , The music and its singing soared successfully over “ Frederica’s ” weaknesses, and the enthusiasm grew by the end to a pitch not witnessed at a first night, for years. Franz Lehar has “ come back ” in the most triumphant manner possible. A Terrible Drdeal, What must it be like to face a first night audience in a strange country, sing'ng and acting a familiar role, it is true, but, in an unfamiliar language, and having lo interpret difficult, and impassioned rnus’c in words of a foreign tongue? Fraulein Lea Seidl, the Viennese actress, faced this ordeal. Fraulein Seidl told of the strain

which this exacting debut made on her. She said:

“ I have played the part of Frederica, more than 200 times in Vienna, and Lehar’s wonderful music, particularly in the parting scene with Goethe, has always made me cry- But the ordeal of having to sing English words was so great that at the beginning of the performance I felt every emotion frozen within me except that of being ill with nervousness. I did not even bother to take a handkerchief with me! “ it was only when I started to sing my exquisile song, “ Why Did You Kiss My Heart Awake?" that i felt the great bond of sympathy ereaied by the music bridging the gulf between the languages;

“I saw people in the audience wilii tears in their eyes—and then something seemed lo burst insiiTe me, and 1 found myself crying uncontrollably, without even my handkerchief to help mat" /