GRAND OPERA SEASON

Dominion, Volume 10, Issue 2951, 11 December 1916, Page 7

GRAND OPERA SEASON

"LUCIA DI LAMMERMOOR" An opera in four acts. Music by Donizetti. Cast:— Lucy Ashton Signorina Gonsalez Edgar of Bavenswood ... Signor Cappelli Honry Ashton Signor Belloni Sir Arthur' Buckland... Signor Bnrontini Raymond > Signor Cacialli Inez '. Signorina Bolloni Norman '.. Signor Pofcrucci Tho Grand Opera.House was filled on Saturday evening, when tho Gonsalez Grand Opera Company presented Donizetti's famous opera, "Lucia di Laimuorraoor." A faTourito horoino to readere of Sir Walter Scott is Lucy, tho Brido of Lammormoor. Tho tragio note which dominates tho story lends itself admirably to tho spirit of grand opera, and famous as js tho original conception of tho author of the "Waverley novels, Donizetti's operatic setting is still more famous. The book nowadaj-s is enjoyed by a circle which tonds to become smaller as tho years roll on, but in grand opera tho tragic story of Lucy Ashton will live for over as "Lucia <li Lanimerinoor." Tho libretto (by Salvatoro Commerano) is a highly condensed version of tho story, tho salient incidonts which mark tho development of tho plot being alone taken, and linked up with tho masterly musicianship of tho composer. Tho story is simplo. Lucy Ashton, sister to Henry Ashton, is secrotly loved by Edgar of Bavenswood, her brother's deadly enemy. Honry seeks .to retrievo his shattered fortunes by marrying his sister to tho wealthy "Sir Arthur Auckland, and during the absence of Edgar in "Franco, convinces his sister, by means of a falso letter, that hor lover is playing her falso. Tho 6hock is tcrriblo, and in bor weakened state of mind she yields to her brother's insistence, and consents to marry Buckland. Edgar arrives on tho sceno to claim his betrothed just as sho has finished signing tho marriago contract. A dramatic scene follows, and Edgar, spurning Lucy from bim, challenges Ashton to a duel, to take placo the following morning. Meanwhile tho truth dawns upon Lucy, and in the horror of hor situation she becomes insane, kills her husband with a dagger, and dies in a mad frenzy. Edgar, waiting for his enemy at tho meeting-placo at dawn next.day, hears tho tolling of a bell, and is immediately afterwards informed by the Ashton household of w'hat has happened. The madness of despair seizes him, and ho slabs 'himself to the heart. Donizetti's "Lucia di Lammormoor ranks with the great classics of tho grand opora stage. It abounds in magnificent recitatives and arias, while tho orchestration is rich and melodious. Many of the groat arias, notably tho soprano aria, "Quando.Papita in Estasi/'.and the "Mad Scene" aria, tho tenor's "Tu Cno a dio spiegasti," and "Era poco a mc ricovero, aro favoured by operatic and concert singers for tho haunting beauty of their melody and their test of vocal technique. Needless to say, ono finds tho real exponents of tho beauty of "Lucia" within a comparatively small circle. Tho chorus work is.fairly light, and is chiefly notable for tho celebrated sextette, "Chi mi Praia," which is sung by the principals, rcinforeod by the chorus in tho development of tho climax after tho unexpected arrival of Edgar in tho middle of tho wedding celebrations. Considering the fact that the Gonsalez Company had but a fow hours before given a matinee performance of "Cavalleria Eustieana" and "I PagliI acci," ono is glad to endorse tho hearty applause which marked tho delighted appreciation of tho audience. Tho opera, though sung in Italian, was easy to follow. Tho appearance on tho stage during the first act of members of tho chorus and somo of the principals clad in tho national garb of tho "Hielans" raised an involuntary snnlo—an Italian grand opera chorus in kilts! Tlion ono remembored that the'setting of the story is in Scotland. As Lucia, tho Signorina Gonsalez was quito admirable in everything sho did. Sho has nover carried dramatic intensity of vocalisation to tho vergo of hysterical shrieking. Her clear soprano, subtly inflected, gave eloquence to passages in the Italian which would havo been lost to tho public in an inferior singer.. Tho Mad Sceno was restrained yet offoctivo. Signor Cappelli, as .'Edgar, was splendidly and tragically heroic, and his thrilling bravura tonor gave fino expression and point to his tinging. Signor Bolloni's baritone, in tho rolo of Henry Ashton, lcft_ a littlo to bo desired. Ho was inclined to

"mouth" his words, and his "vibrato" is far too pronounced. Signor Cacialli, 111." bass, was suited to the rob of the elderly tutor, and his aria in Act 111 was heartily applauded. The chorus work was not exacting, but the performance was satisfying, especially so in trie sextette—which was repeated. , The orchestra, though not always "en rapport" with the principals and the chorus, nevertheless twice distinguished itself—in the overture, and in tho charming interlude at tho close of the opening scene in Act I. Tho mounting, dressing, and stage effects were excellent' Tho matinee performances of "C'avalloria Rusticana" and "I Pagliacci" were well attended, and ecstatically enjoyed.

This evening the company mil present Puccini's "La Bolieme."