CHORAL HALL.

New Zealand Illustrated Sporting & Dramatic Review, Volume XV, Issue 884, 14 February 1907, Page 17

CHORAL HALL.

THE BLANCHE ARRAL SEASON. Madame Blanche Arral, the talented French prima-donna, whose recent appearances in Melbourne and Sydney took the musical world completely by storm, has been repeating her triumphs in New Zealand,’ the successes she has achieved being simply phenomenal from the artistic standpoint, though it is to be feared so far as Auckland is concerned, public appreciation of tier marked powers of song leaves a good deal to be desired. The attendance at the Choral Hall on Monday evening when Madame Arral gave ttie first of a series of three operatic recitals, was not at all in keeping with the merits

of the performance, although the gifted cantatrice could not possibly have had a more appreciative and genuinely enthusiastic audience than that which assembled in honour of the occasion. Madame Arral is, without doubt, one of the most gifted singers that have ever visited New Zealand, possessing a voice the timbre and quality of which is remarkable for its flexibility, musical range, cultivation and adaptability to every class of operatic music. It comes as a revelation to Madame Arral’s hear-, ers to find that she is equally, at home with the G in alt, which she reaches with perfect ease, as she is with her middle and lower notes. In ascending or descending the scales, in ttie gay sparkling music which proves so irresistibly attractive, and in the graver, more passionate and tragic moods of song, Madame’s tones are fill and rich and sweet, and there is no perceptible break in the registers. Madame Arral is undoubtedly a great artiste —one to the manner born —and a veritable Queen of Song, swaying her subjects at will. Those who neglect the opportunity of hearing her miss an unparalleled treat.

Monday’s programme .in other

hands would have been more than ambitious. But Madame Arral is so much at home in every branch of operatic art that what to others would be a severe task is to her pleasant pastime—such at least it seems. The opening numbers from Meyebeer’s “Les Hugenots”—“The Page’s Song,” was splendidly given, and gave place to Saint Saen’s “La Timbre de Argent,” which seemed to be . even more perfectly rendered. Then came Laura’s song from “The Beggar Student” (Millocker’s), and incidentally it may be noted that Madame Arral created the role of Laura at Paris, where the play ran for 150 consecutive performances. Here, again, the singer proved eminently successful. In the selections from “Faust,” Madame, attired as “Marguerite,” gave further proof of her versatile, powers, the recitative and song “King of Thule,” and the brilliant “Jewel Song,” being given with a power and abandon that was simply overwhelming. In the selections: from “Mignon,” the artiste i gave further proof of her brilliant powers, the contrasts afforded by the recitative and romance “Connais tu le pays,” “The Swallow Song,” and the recitative cantabile “Elie est la! pres de lui,” giving the singer ample scope for demonstrating her remarkable powers of song, which she did to the delight and admiration of all hearers. Attired as “Titania,” Madame gave the final programmed number in the recitative and polacca “I am Titania,” singing with a dazzling brilliancy beyond all praise. In each of her numbers Madame had been encored in the heartiest fashion, but at the close of this gem the audience overwhelmed the singer with their enthusiastic applause, and graciously enough, tired as she must have been with such an exacting programme, Madame responded with Varney’s delightful “Bird Waltz” ; —an exquisite piece of vocalisation which made everyone loth to let the talented cantatric go, the audience rising spontaneously and cheering her to the echo. Other of Madame’s encore numbers were Gounod’s “Serenade,” a characteristic sketch “Manola” (Vasseau) and a selection from “Faust.” Madame Arral’s company comprises some talented musicians, who make up a capital little orchestra, as perfect in its way as the prima donna is in hers. Signor Torzillo, the harpist, has a wonderful command over and perfect knowledge of his instrument. In his opening solo “La Hirondelli Perdu,” and in the succeeding number, a Scotch fantasia, he played with exquisite taste and precision, both solos being much appreciated and warmly . commended. Herr Paans, the violinist, is also a very capable player, and was heartily applauded. His mannerisms, however, somewhat spoil the effect of his otherwise excellent performance. Mr. Harold Proctor (pianist), and Mr. J.

Stewart (flautist) complete the. com-, pany. The second of the series of recitals takes place this evening at the. Choral Hall, when we hope to see a house full to overflowing. A rich musical treat may safely be anticipated.

Interviewed down South, Mr. J. C. Williamson gave a list of the companies which he would send through New Zealand during the next twelve months. The present Royal Comic Opera Company is being followed by the American company, playing “ The Squaw Man” and “ The Virginian.” Andrew Mack, the Irish comedian and singer, will open in Wellington on Easter Saturday with “ Tom . Moore,” “ Arrah Na Pogue,” and “ The Way to Kenmare.” Later in the year Julius Knight plays a return season, his repertoire including “ Robin Hood,” “ The Scarlet Pimpernel,” “ Raffles,” and “ Brigadier Gerard.” Then follows the pantomime “ Mother Goose,” at present being played with enormous success in Melbourne. Finally the New Zealand attraction for next Christmas will be “ Peter Pan,” now being revived for the fourth time in London.

Saturday next sees some important changes at the Opera House. The Herz Bros., trio vocalists and comedians, make their first appearance before an Auckland public. A vivacious serio in Miss Lilian Loftus will make her debut. Maxwell and Roberts come with good reputations as serios and dancers. Shaw and Gilbert, known as “ the Sketch Team,” appear for the first time; also Miss Lorraine Tansley, a charming contralto. The ever-popular Bicknells are making their reappearance, and Rex, the india-rubber man, comes back to further mystify Opera House patrons.

It is 25 years since the popular manager, Mr. J. C. Williamson, was last in New Zealand. He declaims any intention whatever of retiring from the eminent position he occupies in the theatrical world.

It is certainly not too much to say (writes Mr George Tallis) that “Parsifal” has p.'oved itself the most successful play in the whole extensive repertoire of Miss Tittell Brune a position it has secured no; only by the triumphs of stage craft and the artistic beauty of its setting, but also because of the admirable rendering its poetically expressed plot receives at he hands of Miss Brune, Mr Thomas Kingston and the rest of their associates. The company are now in the last weeks of their Sydney visit which ends on the ist March, and before they leave for Hobart (where hey are due on the 4th of that month) they will stage revivals of “Dorothy Vernon,” “Sunday,” “Leah Kleschna,” and “Merely Mary Ann.”

Mr G. L. Peterson is in Auckland making arrangements for the visit of Wirth’s Circus, which opens here on Tuesday, the 26th inst.