MUSIC

Dominion, Volume 10, Issue 2944, 2 December 1916, Page 10

MUSIC

i ! * ■ (By "IVeble-Clef.") Tales of the Operas. Whilst regretting that wo arc to seo none of the later operas of any modern composer., I suppose it would bo uncouth to look a gift horse in the face' Indeed, so rare are the visits of companies playing grand opera that on the score. of musical education alone the Gonsalcz combination should be welcomed with acclamation'. I am informed that tho company has a good provincial reputation in. Europe, something ' akin to the Carl Rosa or Moody-Manners Company in England. That is to say, whilst it would not ho heard at La Scala, the Paris Opera House, or Covont Garden, it would' fare very well in the hundreds of big provincial towns which naturally cannot always support a company of the highest European reputation. As all the operas to bo produced during the Wellington season are to be sung in Italian, it is almost imperative that the public should know something of their stories. Without that knowledge the pleasure of hearing the classical works would not bo nearly so interesting.

"II Trovatore." The Gonsalez Company is to maKo its debut hero on Tuesday next in Verdi's famous opera, "II Trovatore," perhaps the best-known of this proline composer's works. Tlio librotto was prepared by the poet Oamniarano, from a drama written by a gifted Spanish youth named Antonio tfareia Gultierez, who was saved from being conscripted for tho Army by his play being such a pronounced success, this affording him the means of furnishing a substitute. To the story. An old gipsy, the mother of Azucena, has been burnt as a witch by the father of the present wicked Count di Luna. Azucena, to avenge her mother's death, steals ,tho Count's younger brother, Manrico, tries to kill him, and, by mistake, kills her own cliild. Sho then decides to bring Manrico up as her own cliild, and he becomes a wandering minstrel, though that 'is unknown when the opera begins. Leonora, a lady of the Spanish, Court, is the object <>i Maurice's passion, and, as fate will have it, of the Count's also.' Jealous of one anothei, there ensues a quarrel, and a duel, in which jManrico is wounded. This takes place in Azucena's camp in the forest, whero Manrico is first told the secret of his high birth. He cannot believe it. Then the news reaches him that Leonora, believing him dead, proposes to become a nun. He hastens to the convent, whero he again meets the Count, there is a strife between the adherents of tho two, and eventually Manrico succeeds in carrying off Leonora. In the third act the count besieges Castellor, whither Manrico and his lover have fled. They aro about to be united, when Manrico learns that Azucena has been taken for a spy, and recognised as the murderess of the Count's brother, and is about to bo burnt to death. He flies to the rescue, but is himself captured. Whilst in prison he is visited by Leonora, wlio offers to marry the Count, if he will but relense Manrico, meaning all the I time to take poison rather than submit to any such terms. Manrico refuses liberty on such terms. The Count sends him to the scaffold, and only after the execution has taken place does the Count learn from Azucena that ho has sacrificed his own brother. The music is simple, but always fluently melodious. All the world knows such numbers as "All, die la morte" (the "Miscre" duct), sung in the prison scene, the basso air "II Balo," tho [celebrated "Anvil Chords," and the dnefc "Homo To Our Mountains." I "La Travlata." Hardly so much detail is necessary to explain tho story of "La Traviata." Everyone knows "Camille" ("La Dame ; aux Cammillas") of Dumas, which wonderful story the plot of the opera closely follows. Camille of the drama becomes Violetta in the opera and Armand Duval is Alfred Germont. It will bo recalled that'Violetta. is a courtesan, but under the influence of a pure love for Alfred undergoes a complete transformation. She is supremely happy in her new-found joy, until Alfred's father comes on tho scene, and bogs her to save the honour of his family by relinquishing her lover. After a scene of rare emotion she consents to make the great sacrifice, though sho knows it will kill her. She cannot convince Alfred of any change in her affections in any ordinary way, and knowing that, takes the drastic course of flying to the arms of another, Baron Daphol (the Count de Varville in the play). There is a dramatic scene, where Alfred and the Baron meet at a masked ball. Finally revealing her great sacrifice to the stricken Alfred she dies of consumption. Tho opera is abundantly melodious, and, whilst not a great opera, is humanly interesting. The noted aria, "All fors a lui," is the number where Violetta declares lier love for Alfred, and is the air that is used right through the play i.of "Caniil'e." "Cavalleria" and "Pagliaool." Owing to their similarity in character, and because the two bills just fill out the evening nicely, theso two high-, ly spiced and vigorously dramatic, operettas aro generally played in the one evening. "Cavalleria Husticana" Is woll known in Wellington, as the work that made Mascagni tamous. He has never been able to reproduce his form in any other work, though he has written many operas. This gem lifted him from poverty to affluence, and is played during nearly every grand opera season in the world. The English translation is' a poor one to Italian ears, and does not represent the peas* antry as it should. Turridu, a peasant, loves Lola, but on return from serving his term in -the army finds her wedded to Alfio, and in piquo marries Santuzza. .Fickle Lola longs for her old lover, aii,d lures. him away from his wife, during Alfio's absence. Santuzza, maddened by grief and jealousy, informs Alfio, on his return, of what is going on. The two men meet in front of a wino shop, where Turridu bites Aliio's ear as a challenge. They light, and Turiddu is slain dramatically. The. music of "Cavalleria" is uniformly high in quality, and most admirably adapted to the tense dramatic spirit that pervades the atmosphere of the opera. This is also contributed to by a highlycoloured orchestration, that almost tells the story without the vocal part. "I Pagliacci," by Leoncavallo, is a wholly delightful little opera, chock full of dramatic intensity from first to last. Tho sotting is novel and gaily pastoral—theatrical. The plot concerns the loves of Canio and Tonio, two members of the Pagliacci, or strolling pantominiists, who tour the villages on the occasion of the feast of the Virgin di Mezzagosto. Both love Nedda, the Columbine of the troupe, and wh"o of Canio. While inviting the crowd to "roll up" that evening there is somelight banter about Nedda, and Canio tells them that the play and real lite arc very different, and that if he found his wifo deceiving him, tragedy would follow. Nedda really has a lover, one Silvio, a peasant, and this tho scorned Tonio learns, and in revenge for her having slashed him with a, whip ho tells Canio of Nedda's treachery. Canio is too late to catch Silvio, and is about to stab Nedda to tho heart, when Bcppo intervenes. That night, with tragedy in his heart, he has to act a comedy. The -people arrive to witness the show, amongst them Silvio. Then there is the play within a play. In the play there is a little scene enacted that corresponds to the tragedy brewing. Nedda as Columbine entertains a lover in tho absence of Punchinello (Canio), and on tho latter's return sho scorns him, and so poignantly docs the scene play on the' real feelings of Canio that he pleads for the return of her love, with a fervour that frightens her. But she continues to play • her part, and refuses his advances, until, in a frenzy, Canio stabs her, whilst the audience, roused by what they believe to be magnificent acting, shout "Bravo!" All save Silvio, who l-ushes on to the stage, and Canio, knowing lum to bo the lover of his wife, stabs him also, and lots the knife clatter to the stage, gasping, "La comedio ad Unite!" (the comedy is finished).