HIS MAJESTY’S THEATRE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1557, 26 February 1920, Page 36

HIS MAJESTY’S THEATRE.

GRAND OPERA SEASON.

A GALA OPENING. “FAUST.”' The long heralded season of grand opera under the direction of J. C. Williamson opened at His Majesty’s Theatre on Saturday night, Gounod’s “Faust” with its melodic beauties being performed before an audience that crowded every part, and accorded it a : reception worthy its fine achievement. “Faust” was first produced in Paris in 1859, and in all parts of the world it has retained its supremacy as a sure magnet. Everyone knows the tragic story of Faust and Marguerite, and the infamous compact made with Mephistopheles for the soul of Faust in return for youth. Chief interest was centred in Miss Amy Castles, whose voice last charmed Auckland audiences some few years ago as prima donna of the previous grand opera essay by the Williamsori firm. Miss Castles’ voice is of rare richness and compelling charm, and the heavy score of Marguerite gave it scope for brilliant handling. In the famous “Jewel” song she. achieved a triumphant success with the beauty of her vocalisation, and her acting in the cathedral scene when her brother learns of her betrayal was markedly impressive in its intensity. Mr. Ralph Errolle as Faust delighted everyone with the quality of his lyrical tenor voice, his singing of the cavatina “All Hail, Thou Dwelling Pure and Holy,” being outstandingly distinctive, while in the duet “The Hour is Late” with Marguerite he shared honours with the prima donna for an eloquent interpretation. Signor Alfredo Valenti, who has an expressive bass voice with an excellent range, made an effective Mephistopheles, his singing of "Clear the Wav for the Calf of Gold” being charged with great dramatic power, while he was eminently satisfying in the duet with Faust, “Be Mine the Delight,” and in the mock serenade “Catarina.” Mr. Carl Formes’ powerful baritone voice was used with artistic judgment in the numbers allotted Valentine, Marguerite’s brother, his songs being rendered with heartfelt passion. Miss Thelma Carter as Siebel, and Miss Vera Bedford as Martha were well equipped for their parts, Miss Carter singing the “Flower Song” with nice appreciation. The choruses were given in spirited style, and the costumes and groupings were strikingly effective. The orchestra was under the direction of Mr. Gustave Slapoffski, whose control was superb. “TALES OF HOFFMAN.”

Seats were at a premium on Monday night, when “The Tales of Hoffman” was presented for the first time in Auckland. Full of delicacy and fantasy, seductively appealing in its musical note, Offenbach’s piece was hugely enjoyed by the great audience, the three love episodes of the susceptible Hoffman, as told to his comrades in Luther’s wine cellar, forming complete miniature operas in addition to the prologue and epilogue. Mr. Ralph Errolle, in the exacting part of Hoffman, bore the main portion of each act, singing with warm feeling tempered by artistic restraint. The first tale was undoubtedly emphasised by the wonderful impersonation by Miss Eileen Castles of the doll, Olympia; the simper and the jerky, machine-like movements, and the doll business altogether being a masterpiece of. skill. Even in her “Doll’s Song,” which revealed her as, a singer of exceptional beauty and melody, she managed to keep her voice handling deliberately mechanical, and a tremendous ovation was accorded her at the conclusion. In the second act, with its haunting “Barcarolle,” and its-Venetian setting, Miss Elsie Treweek made a conspicuous success as the faithless • Giuletta. Mr. Carl Formes had a rousing reception for his magnetic delivery of “As Jewels Divine,” this being one of the outstanding features of the performance. In the third episode Miss Patti Russell, a young singer with a clear,

fresh voice beautifully modulated, distinguished herself by her singing and expressive acting in the role of the consumptive Antonia, Hoffman’s last love, her romance, “Thou Art Flown,” being marked with rare feeling. Mr. Alfredo Valenti was a weirdly dramatic figure as Dr. Miracle, his voice being used to potent effect. Miss Thelma Carter as Nicklaus, Hoffman’s

companion, followed her master through all his phases, fulfilling her part with charm and vocal ease. The orchestra was an illuminating factor in the general fascination. “LA BOHEME.” Puccini’s enchanting opera “La Boheme” was given last night before a most enthusiastic' audience. It will

stand out indelibly during the season for Miss Amy Castles’ superb work as Mimi, her representation of that loving unfortunate young person being one of moving pathos, her exquisite voice being modulated to express divinely tenderness, passion, love or sorrow. Mr. Walter Wheatley made an ideal Rudolph, the rich quality and sympathy of his tenor voice being apparent in “Thy Tiny Hand is Frt? zen,” while his acting as the lover was fired with impassioned ardour. Miss Eileen Castles was a bewitching Musetta, and the presentation was further enriched by the understanding acting of Mr, Fred Collier (Schaunard), Mr. Alfredo Valenti (Celline), arid Mr. Carl Formes (Marcelle), with Mr. Tom Minogue in two character studies.