OPERATIC SINGERS.

New Zealand Illustrated Sporting & Dramatic Review, Volume XVIII, Issue 1060, 30 June 1910, Page 17

OPERATIC SINGERS.

THE PRINCIPAL TENORS WITH THE GRAND OPERA COMPANYTWO BRILLIANT VOCALISTSWith Mr. J. C. Williamson’s Grand Opera Company, now visiting the Dominion, are two very fine tenor singers figuring as principals in the operas of “ Madam Butterfly,” “La Boheme” and “ Carmen.” These gentlemen (speaking of them in the order in which they were introduced to the Auckland public) are MrFrederick Blarney, a young Englishman, and Signor Zerga, an Italian artist, also with youth on his side. Both are remarkably fine singers, and, as they sing in alternation, night after night, it is really difficult to say which has the sweeter, better, truer note or the greater artistic genius. Both have been received with equal appreciation, and it says much, therefore, for Signor Hazon’s and Mr. J. C. Williamson’s judgment, that both gentlemen should have established themselves as such prime favourites with Auckland audiences. It is a delight to hear either, and Mr- J- C. Williamson, equally with Signor Hazon, is to be congratulated upon the choice that has been made- Signor Zerga has certainly figured more in grand opera in Italy:—the recognised home and birthplace of that particular form of musical art — than Mr- Frederick Blarney, but the latter has won many successes and created a name for himself in the great metropolis of the Old World, which has the honour of being his birthplace, both on the concert platform and in opera, added to which he has perfected his training under one of the best Italian masters in the city of Milan itself, where he has also taken part in grand opera. BORN TO MUSIC. A NATIVE OF COVENT GARDEN. MR. FREDERICK BLAMEY’S EXPERIENCESThe writer had the pleasure of. interviewing Mr. Frederick Blarney at the Star Hotel on Monday evening, and was greatly impressed .by . the talented tenor’s devotion to his . art. Mr. Blarney, when invited to speak about himself, said he was a native of London, born at Covent Garden, within less than a minute’s .walk of the Royal Italian Opera House, which has for more years than most of us.can remember, been the centre of the greatest and most brilliant of the musical triumphs achieved in the great heart of the British Empire’ ,'The world’s leading artistes have all.sung there, in the presence of the most brilliant assemblies the world has ever witnessed. The very name of Covent Garden is associated with music. Born in such an atmosphere, within sight and sound of the great Opera House and with the musical instinct or genius within him, it is small wonder that the boy, as he grew in years and knowledge, should turn his thoughts to that arena of ■ triumphs that awaits all musical geniuses. The gift of song was within him, and his voice, breaking early, gave such nnmistakable sighs of promise that ..• a violinist of some fame, who heard him 'sing, urged his.friends to give the.lad a chance, and so he was placed under Isidore De Solla at. the Guildhall School of Music, where he had . five years’ training, and secured the chief tenor prizes of the school, .finishing up by winning the gold medal awarded to the most; distinguished student of the year in 1907., Between his studies he was supporting himself by work on the concert platform and in opera- He sung at St. James’s, the Queen’s, the great Royal Albert and other noted concert halls in London, and steadily won his way into popular favour, taking part in the chief oratorios and singing under special engagement with church choirs, etc. Practically all his concert Work Was done in London and its suburbs, his first appearance in grand opera being made in “ Fra Diavolo” and “ Zampa,” also in London in 1907. With the ; view of further, perfecting his work, he went to Italy and studied at Milan under Sabatini, the distinguished master - who brought out the great .McCormack? After seven months’ training under the Italian maestro, Mr. Blarney accepted his. first engagement to sing in Italian opera in an Italian theatre, appearing Jn'’“’ iWr,bvhitore,”; “ Ernahi,”. and “Tone.” His ; success was such that hist services were in demandfor a number of other

theatres, and offers from Nice, Marseilles and Malta were before him, when he met Signor Hazon and was . induced .by that gentleman to come to , this country, which' he was very desirous of visiting. ; ■ The-,Grand Opera Company opened its Australasian tour in , Sydney in - March, its members being upder-a six month's’ engagement to Mr. J. G. Wil-y liams'on, who has the option of their, services for anotiier, six inonttis../.* ’Ajt.* the close of. their New Zealand tour > (the South Island has still to be visited) 'they go to Melbourne. ... ; Mr.,. Blarney' has appeared here as LieuPinkerton in “ Madam Butterfly” and as lion Jose in * Carmen.. In Sydney, where he, appeared also in “Laißoheme,” he created the part, of Rudolph- Don Jose is his favourite character, as' hp says n the tenor 'a fine chance. .He .confesses, that,the thing, that charms him most not so, much the magnificent Flower song, although he revels- .in that, as the little interlude that immediately follows it- It is really, he said, “my favourite bit of music of all-” . Mr. Blarney says he is delighted to have come to this - country. He. likes fjew Zealand immensely. The people have shown themselves to be so sympathetic. “ They are so English in their ways,” he said, “ and so patriotic- As an Englishman that appeals to me most of all. And,” he added, “ everybody is so nice. It is quite a pleasure to sing to your Auckland people. I like the Auckland audiences; they are so sympathetic, attentive and appreciative I cannot say. the same thing of Sydney audiences. They are too blase, and while we played there for a month to crowded houses, and it seemed as if we could have gone on playing for another month —we played “ Butterfly” for three' weeks on end —the people were not nearly so attentive, and appeared more coldly critical than the Auckland people. Not that I think you Aucklanders are less critical, but it seems to me you love the music more.” , Mr- Blarney returns to England with Mrs- Blarney at the end of fthe Australasian Grand Opera season, having a number of engagements booked for concert and oratorio work in London. Mrs- Blarney is travelling with him. -She is a fine musician and a great help to her husband. “ She helps me so much,” Mr. Blarney said, “ and it is so nice to have her with -me?’ .

born to sing.

HOW SIGNOR GIOVANNI ZERGA GRADUATED IN OPERA.

“I CAN’T REMEMBER WHEN I

DIDN’T SING.”

Signor Giovanni (Anglice John) Zerga cannot remember the time when he did not sing. It may almost be said of him that he was born singing, his earliest recollections being associated with a table upon which his father used to stand him while the little fellow, scarce more than a baby, sang to a select audience of friends. Signor Zerga is an Italian only by parentage. He. is a native of Boston (U.S.A.), where he was also educated at the Eliot School, the circumstances of his parents being such, however, that he was unable to remain at school as long as he desired, but, “while working in the. day time he gave his evenings to study and was presently rewarded by an appointment to the treasury service in the custom house, where he was made' an examiner It was while at his work there (we from a Boston paper) that the beauty of his voice that had so often charmed his companions and friends attracted the attention of a visitor. Zerga was singing, as was his custom, wrnle at his work, when the visitor came in. After listening a while he approached the young man and told him ! y at ought to have his voice cultivated. This recognition roused m Zerga a deSe io taprove his gift and he put himself under teachers and gave

his spare means to the opera, where he might observe the. famous musicians and take note of their, manner of singing.” In time the spirit of emulation, which was strongly at work within him, prompted action. He sang before the late Mr. Conradi, Director of the Metropolitan Opera House, New York, who told him that if he went to Italy and studied operas and sung there, he would give him an engagement on his return to America. This promise acted as fuel to the fire already kindled in the breast of the young singer, and, proceeding to Milan, he studied with Cesari Rossi, taking all the operas in which the most celebrated tenors sang, and also under Cavalier Emile Matellio, who produced “Carmen” on its first, presentation at the Royal Theatre, Madrid. Signor Zerga made his debut as an opera singer in “Faust,” on 23rd June, 1906, and has since added 25 operas to his repertoire, singing in 16 of them in Italy, Austria and Switzerland. Following “Faust,” he appeared in “Saffo,” one of the quaintest of Pacini’s old operas which is but little understood to-day. He sang next in “Da Boheme,” with Signorina Maria Pampari, and has been in active association with that little lady evei’ since. He also sang in “Lohengren,” “Forza Del Destino,” “Lucia di Lammermoor” and a number of other operas. Mr. J. C. Williamson visited Milan last year, travelling from London to that city, expressly to hear him sing, and was so pleased with his performance that he engaged him for the principal tenor part in the production of “Madame Butterfly” in Australasia. It was then Mr. Williamson’s intention to only run the one opera, but hearing Signorina Maria Pampari in “La Boheme,” he decided to add that and other operas to the repertoire of the Grand Opera Company he was then forming, this necessitating the engagement of other tenor artists to alternate in the productions. Signor Zerga achieved much success in Italy, the press comments upon his performances being markedly sympathetic and appreciative. He achieved the somewhat unusual distinction of being accorded a “Night of Honour” in every city in which he sang. These “Nights of Honour” are equivalent to our benefit nights, and it is customary for the box-holders, on such occasions, to present the artist thus honoured with an address, setting forth his or her qualities as a singer and artist, the box-holders subscribing their signatures to the document. Signor Zerga showed the writer two of these interesting documents, which are printed on a broad sheet and distributed to every person attending the “Night of Honour.”

Another custom that prevails in Italy is very interesting. -Before any artist can take part in opera, his or her name has to be submitted to the House of Editors (really the publishers or owners of the opera rights). The aspirant for operatic honours has to gain the approval of the editors before he can secure a copy of the musical score or take part in any operatic performance. Signor Zerga holds certificates and letters from La Casa Ricordl; approving of his appearance in opera, and one of the recommendations

thus furnished to him for presentation to a personal friend of Tito Ricordi’s, reads as follows (the translation being in free English) “Very dear D’Ormeville, I have the pleasure to present to you arid to recommend very warmly 1> egregio Signor Giovanni Zerga, who possesses a very fine tenor voice and merits your warmest sympathy and support. Thanking you in anticipation for the care of the one I recommend, I pray you accept my cordial greetings.” Signed, Tito Ricordi.” Signor Zerga sang in all the principal cities of Italy during his five years stay in that country, and also in Austria and Switzerland. At Correggio, which is the capital of the Reggio Emila district and one of the most critical musical centres in Italy, Signor Zerga had the somewhat unusual experience of following three tenor artists who had been “protested.” It is customary at that centre, where no artists can appear except with the consent of the “House of Editors,” for the audience at an operatic performance to exercise the critical faculty to the extent of “protesting” against the appearance of any artist with whose singing they are dissatisfied, and once “protested” an artist is not permitted to reappear in the Correggio Opera House. It happened, as already stated, that Signor Zerga followed three tenors who had been thus “protested. His triumph was, therefore, the greater in that he secured the cordial and enthusiastic appreciation of his audiences, and was awarded the usual “Night of honour.” Signor Zerga is well pleased with his reception in this country, and hopes, at some future date, to renew his acquaintance with New Zealand audiences.