GONSALEZ OPERA CO.

Dominion, Volume 10, Issue 2955, 19 December 1916, Page 6

GONSALEZ OPERA CO.

"MIGNON"

"Mignon," a grand opera in four acta, by Charles Ambroise Thomas. Cast: — _ Mignon Signorina Visoni Pilina Signorina Gonsalez Federho y Signor Piccolo Guglieme Maistcr Signor Balboni Lotario Signor Cacialli Luerto ...'. Signor Petrucci

At last a grand opera with a happy, ending. For the past fortnight we have come away from the Grand Opera House almost nightly thrilled, not only by the beautiful music of those prolilic Italian composers of our mid-Victorian .days, but with tho added jolt that always comes near the end when se-ineono is hanged, or stabbed, or just dies. It is invariably the cuo to the end, and has always been considered to bo absolutely essential to every Italian grand opera. This week Madam Butterfly will perform the difficult and often dangerous operation of hari-kari behind a highly-lacquer-ed screen, and Bon Jose will slaughter his liclo love a few bars before the end of "Carmen." But in "Mignon," Ambroise Thomas's graceful opera, thore iff a happy-evcr-aftenvards ending, and tho change came as a great relief. Ambroise Thomas was a Frenchman, born at Jfelz in 1811. Ho had a brilliant career, and finally became director of tho Paris Conservatorie. "Mignon" was first produced in Paris in 186G (when tho composer was 55 years of age), and was his first big success after bis many comic opera successes. His "Hamlet" and

■'Prancoiso do Rimini" were also operas of outstanding 'merit, but are rarely heard to-day. Tho story of, "Mignon" is based on Goethe's "Wilhelm Meister," and consists of incidents surrounding tho search, of an Italian nobleman, disguised) as the harper Lotario, for his daughter, who had been stolon in babyhood. Wilhelm Afeister unconsciously helps the old man by rescuing Mignon from a cruel gipsy band, and these two become finally united under the paternal roof in sunny Italy.

The music of "Mignon" is placid and highly sentimental in character, giving the widest scope for legato singing dear to the French operatic stage of its period. . There are bright passages, as in the case of the mirror song, that indicates the influence of tho opera coniique on the composer, and some extremely beautiful arias that call for vocal technique of the highest order, but over all there is the glamour of romance, which reaches its climax in the* beauti-fully-written last act, where the lovers are united, and Mignoß. finds a. father after her turbulent career with tho roving zingaris. The orchestration i 3 very fine, with excellent opportunities for the soloists. In the lovely overture, which gives tho keynote to the character of the opera, occurs a charming harp solo; the 'cello lead has 6ome important work, and was expressively excellent in it, and there was delightful work for the leader (IT.. Tarcynski), and also for. the wood-winds. The familiar gavotte is included in the prelude to the second act, and was heartily applauded. The name-part was entrusted to that sincere. little artist, Signorina Visoni, who, if she lacks the authority.'and magnetism that are usually associated with' a prima donna, is always seeuro in her music, and makes no mistakes. In the lighter passages she is uniformly excellent, and was probably at her best when imitating the actress Pilina in the arch mirror song. Her singing of the prayer and the final duet (with Signor Balboni) were-among the successes of the evening. Signorina Gonsalez was quite in her element as Filina, bold and confident in her many admirers, and laughingly illdependent of them all. The spirit of faiety with which Filina and the merry ederico twit Guglieme Meister on the interest he manifests in Mignon in the first act, the whole of which is 6ung in quaint fragmentary, recitatives, was admirably done If anythingj she was a little overweighted inHhe big florid aria of the third act, but on the whole her performance was distinctly pleasing. Signor Balboni made an entirely graceful and sympathetic Meister,. acting Mith much reserve and natural dignify. He sang throughout with tender expressiveness, and gave special charm to the song, "Un Sospira d'Amour," in . the final act. Another admirable performance that strengthened the high opinion already formed of Sisnor Cacialli's ability, was the basso's liotario, who though dressed in Tags,. managed to show the nobility of the character he was impersonating. His sinking was a rich' delight. There was a fine degree of tender pathos manifest in his solo in the last act, and his graphic acting on di?overing Mignon to be his long-sought daughter was an awakening feature of the opera. Sujnor Picolo in the light comedy role.of Federieo was adroit and amusing. Signer Giovanni Gonsalez conducted with his customary skill. "IL TROVATOKE" THIS EVENING. The company will give its fourth performance of "II Trovatore" this evening, w.hen doubtless there will be a large audience to heaT once more the .goldenthroated Capelli.