"CARMEN."

Dominion, Volume 6, Issue 1731, 23 April 1913, Page 8

"CARMEN."

BY HOYAL CHORAL SOCIETY. If for nothing else, the Royal Wellington Choral Society deserves the sincere thanks of the. musical, community for tho uncommon enterprise and catholic tasto displayed in tho selection of such a work as "Carmen" for performance last evening. -To those with any knowledgo of Bizet's highly-coloured and intensely dramatic work, tho difficulties of its presentation in concert form must bo at tilico apparent. 'i'lio opera is essentially one of action, temperament, and colour—elements that aro splendidly reflected dn Bizet's glowing music, but which aro at once stultified in a cold, formal recital, however competent tho performers may be. l'erhaps in tho entire range of grand opera there is none less suited to this style of treatment than "Carmen," and one can only ascribe thp idea of a concert setting to its wonderful popularity in operatic form.

Poor Bizet did not live to see his masterpiece acknowledged as a success. As one writer put it, he "fell with his foot on tlio threshold of Walhalla." 110 was then -but 35 years of age. .The opera was first produced at tho Opera. Comique, Paris, on March 3, 1873, and' on Juno 2 following lie died, not of a broken heart as some authorities would havo it, but from a severe attack of .angina, doubtless accentuated by the work, worry, and disappointment connected with the production of his greatest opera. And what consummate musicianship is manifest in tho score! There is iu "Carmen" a perfect relationship between tho music and tho text that is seldom met with oven in master grand operas. This is tho nioro remarkable, perhaps, when it is considered how Georges Bizet—himself a Parisian—had to break away completely from the French classic stylo of writing of his day to encompass a work which, in musical colour, is absolutely native to the locale of tho story. The story is powerfully dramatic, and Bizet, without even, diverging from the national character of the theme, invested it with fervid, passionate music, which glows with all tho colours of tho emotional rainbow. Each character is given music of a distinctive nature, which insidiously suggests the type portrayed—gay, loose "Carmen," tho fatalist; Don Jose, the weak romancer; Escawillo, tho braggart; and Micaela, the sweet pure girl, who stands . out as virgin \l'hite in contrast to tho worldly throng' that people tho opera. If the music be car.efully followed, through, this feature becomes more and more, -obvious. Ever through "Carmen's" music is that minor clement which portends tragedy. It ocours in the "Habanera," , the "Sequidille," and in tho card song- (third act) where Carmen becomes obsessed with tho belief that she is'desti'ned soon to die a violent death. Occasionally the music is brutal, at other times alluring, and even sensual, 'but at nil times it is wonderfully graphic and of rare beauty. Tschaikovsky wroto of tho final net: "I cannot play the last sceno without tears in my eyes. There aro tho gross rejoicings of tho Crowd who look on at the bull-fight, and, side by side with this, the poignant tragedy and death of tho principal character possessed by an evil fate." Tho Russian composer would, naturally, bo swayed by tho Striking originality of -the orchestral colouring, in combination with tho strong characters and the melodies, and 'few could fail to share his enthusiasm on witnessing tho opera well played.

Last evening's performance was an interesting one in places. No 0110' could say that it approached perfection, but it showed that the opera, in concert form, was at least possible. One could not but. be helped to ' that conclusion by tho general excellence of the work of the principals, who in several .instances really suggested the scenes by tho spirit which they put into their work. This was notably so in tho case of Madame Pinschof (of Melbourne), who mado her debut in Wellington as Carmen. Such was her vivacity and tho intelligence which dominated her performance that "Carmen" becamo not only a very excellent vocalisation of tho role, but a living ■ character. Ono could see that 'Mndhme' Pinschof;with'"her" wealth of temperament and knowledge of the role and its traditions, felt tho restrictions of tho platform, but at tho same time she.never onco over-stepped the bounds of concert propriety by giving way to tho impulse to act. 'Her voice is a full, round, iiicclvproduccd mezzo-soprano, • of • ecrviccablo range, hardened in places by a slight vibrato, but youthful,-fresh, and musical. She sang with joy, and sang in. tune. Madame has a fine dramatic equipment, and was never backward at bringing it into play, as was markedly heard in the final duet with Don Josi\ Indeed, she was much better in her strong dramatio scenes than in' the lighter love passages of tho earlier acts. Slio did not quite catch the soft allurement of tho "Habanera," but her treatment of the difficult "Sequidillo' was distinctly artistic, as was her singing in lie "Tergetto," where she conveycd tho correct noto of pending tragedy. Tho audience warmed' to tho handsome Melbourne singer, and applauso .was hers in abundance. Madamo Wieleart has never

in Wellington sung any music better than Mieaela's. Her pure, liquid soprano was exactly suited to tho virginal melodies given to Don Jose's modest sweetheart, and she gave it with fluency and certitude, and with a good deal of charm. Her interpretation of tho beautiful aria in tbo third act was ono of tho outstanding features of the performance. It is pleasing to mention the success achieved by Mr. Frank Graham, the Don Jose of tho cast. Hero is a difficult part, floridly scored, with a deal of broken recitatives, and all highly emotional in character. Mr. Graham soon showed that ho was very much at home in tho role. Tlioro was a tendency to, "stretch the effort," and thereby he became strident here and there, but in the legato passages he was delightful, and sang tho appealing solo in tho final act with great artistry. Mi. Graham mado tho mistake of over-actiug in tlio assassination scene. Only the suggestion was , needed. Mr. Hamilton Hodges was the bull-fightvr Escajnilk), and savo for tho trick of singing most of his music staccato, gave a good performance. Ho scored, of ■ course, in tho Toreador song, in-which, by the way, tho orchestra was over-loud. Mr F. W. Layeock sang tlio music of Morales and Zuniger uneasily. Ho was slightly Hat and unsure, and had to keep his eyes 011,1ns score. His many recitatives were sung without any declamatory cil'cct whatever. In developing a big-tone, Mr. 11. Pbipps (Dancairo) lost uvuoh of his natural sweetness, but sang the music with confidence. Mr. E. J. Hill rendered tho music of II Kemenado, and Misses Gertrude Hunt and Muriel Bennett wero only fairly successful as Frasquita and Mercedes respectively. As usual the society's chorus was a splendid ljody of voices, with, however, tlio inovitablo weakness in the tenor division. After the iirst two or threo' choruses (in which there was timidity in approach mid a lack of tone) they sang the music robustly. Tho orchestra did fairly well on tho whole. There were, however, numerous roughnesses and shaky places, but in straight-going passages they did very well,

us, for instance, in tho fino swinging music of the last act. Mr. Barnett conducted with skill anil resource, and time after time held the orchestra together when it appeared to lie losing confulenco ill itself. His night's work was probably tlio hardest to do,, and it was performed with fino nerve. .'U the conclusion of tlio performance JFr. I\. T. Caldow mailoa few remarks regarding Jlr. Harnett's approaching departure, and wished him God-speed. The choir sang, 'Tor He's n Jolly Good Fellow," and gavo three hearty cheers and one for Mudamo Pinschof. . Needless to say every seat in tlio Town Ilall was occupied.'