GRAND OPERA.

Auckland Star, Volume LIX, Issue 222, 19 September 1928, Page 17

GRAND OPERA.

"UN BALLO IN MASCHERA." Opera enthusiasts of the present generation, ae of old, delight to listen to the fascinating music of the ancient Italian masters, which appeals in a way quite different to the modern opera, therefore it w«s only to be expected that a large gathering of the musical public attended to witness the production of Verdi's striking and beautdfel opera "Un Ballo in Masehera" "by the Fuller-Oonsalez Company at St. James' Theatre last evening. "The Masked Ball" was the last opera Verdi wrote for the Italian etage, it contains three acts, and .ie considered the maestro's greatest inspiration of his middle period. It was intended for performance at the San Carlo, Naples, during the Carnival of 1858, but its production was forbidden, as it contained a conspiracy scene. Verdi was ordered to adapt his music to fresh words, which he refused to do. A way out of the difficulty was found, and the opera was staged at the Teatro Apollo, as "Un Ballo dn Masehera." on February 17, 1859. Rich and picturesque as in the instrumentation the vocal treatment remains the (principal feature of the opera. There is an inexhaustible flow of melody throughout, whilst the declamatory sections, even to the shortest recitative, are animated by a richness of 1 writing which adequately visualises every situation. Many striking contrasts of character are found, the gay and charming role of the page Oscar making an attractive opposition to the tragic situations. In some instances the performers had to receive an oooaeional prompting, and the orchestra ivas indifferent in places, most notably in the initial Prelude and obMgatoe, otherwise an enjoyable production was. secured of the opera.

Both from a vocal and histrionic standpoint Signoiina Rosito Silveetri ably sustained the arduous role of Adelia. In the dramatic situations her fine vocal technique enabled her to extract the fullest from the tnuaic. Her high notes rang out with ipiccolo-Tike timbre, and ehe eang the expreedive music with much taste and feeling. The long dramatic ecena "Ma dall arido" received a performance which clearly voiced its broken measures, and the orchestra fittingly executed the gaps of the characteristic accompaniment. Expressive and touching was the singing of "Morro Ma Prima in Grazia," the cantatwce colouring the aria in a manner which impressively pictured the passionate scene. With delightful artistry "Che Mai Piu" was vocalised, and a telling high C featured the sinking of the coloratura passage at the close. To this scene was added a tastefully played 'cello obligato. A passionate performance marked the singing of the love duo "Io laeeiarti" by the prhnadonna and Signor Rota. "Qual Tristezza" was a fine piece of bravura work, whilst Rdccardo and Adelia displayed much energy and vocal artistry in "Mami! oh tria dietrueo." An agitated interpretation was given of "Odi tu come," the tenor joining the soprano in a staccato reading of "Vati Sa'lva," in opposition to Adelia's legato singing of "Di loeu." A spirited delivery was given of the trio "Fuggi fuggi," which was a display of cultured ensem'ble work. Signor Allesandro Rota's embodiment of the part of Riecardo was a studied one. He threw intensity into his singing when required, and in the quieter passages sang with pleasing vocal dntent. He gave the romanza "Amiel Miei" with nice effect,

contributed a spontaneous delivery of "Ogni Cuna," whilst the lovely barcarolle '•Di tu ee" was charmingly exposed. Clearly contrasted was the staccato and legato work in "Sie Agile," and in the death scene intense feeling was displayed, and with a doleieeimo tone "Ellae pura" wae given, to which was added an effectively played pianissimo obligate by the higher strings. Signor Vficleffo Seamuzzi made an admirable Renato, acting with strength and dietinetion, and sang his music -with richness of tone and fine declamatory power. Specially teiling was has perfonnanoe of "Alia Vita," "O Doluzze," "Dungue I'oßta," "A Tal Colpae," and "Alaati! la tuo." Hie artistic treatment of the greatest tof airs allotted to Rein hart, "Eri tu" won for the baritone an imperative encore. Signorina Flor made an excellent page. Her impersonation of the character was an outstanding feature of the opera, and gave much pleasure. She eang and acted with notable freedom and ease. A teasing, gay, and playful rendering wae secured of the taunting canzone "Saper Vorreete," and the artist sang brilliantly in the bewitching song "Ah.! «he fulgor." Signorina N. Algozzino was quite successful as the Sorceress, and her delineation was highly appreciated. Sigmtri Fumagalli and Alfieri ably sustained ther characters of the enemies of the Governor. The artiste and conductor were frequently trailed before the curtain after the .scenes, amidst a great display of enthusiasm. This evening Verdi's tragie opera "Eraani," in four acts, will be produced.