CAPPELLI

Dominion, Volume 11, Issue 265, 29 July 1918, Page 3

CAPPELLI

A PJNE ITALIAN TI3XOR. Cappclli, formerly this piincipal tomir ol tnu Uoiii'.ulos Orantl Oporu, Compitny, wbiou vi.-ilcil Wollijigton soiqo eigiiieen moiitlts ago, ;tpi>eiU'(!U in conoert nt the Grand Gpura iloitEs on Saturday over.MB, ivlien the golden opinions I'ornieil previously us to the exceptionally beautiful quality of his voice iren; endorsed in the fullest measure. Indeed, this tenor, so (idniirnblo in opera, has, liko lew Italian tenors tramwl in the o)ioratic school, the coucort plall'orm kmiso as we unilorstand it, and itw glorious voice ou Saturday nijflit induced thumlors of applause and even cheera from an audience which filled every scat in the big theatre. Cappel li's success in a new arena—for 6ueh the concert platform is 'to him—is all tin: must worthy of note when it is remembered that in Italy the concert nS wo know it has no established placo in the musical field, 'ihere the music oi' the belter cla.s-; is divided into opera and orchestral concerts at which the master symphonies have a permanent placo. Ballads may be heard in the entertainments Riven in the principal hotels and restaurants, tat the ballad tonoort is not favoured as a jjaneral musical custom. Cappelli's success, thcroforo, is a double one, for no one could but admire his triumph over his national traditions in bis obeisance to English custom. Ho Was absolutely legitimatoj he never made a gesture the wholo evening, and beyond a step or two forward to emphasise tonal culminations he was finely restrained— and yet his singing created sccntis of enthusiasm over and over again simply by the exercise of his superb vocal gifts. His opening number lvas the lovely aria, "0 Paradiso," from "L'Africano" (Meyerbeer), the opera which the German master commenced in 1888 and was not produced until 1865. Kis aot n dramatic number, but is written .oantabile, in ecstatic praise of Africa as'tho "paradise on earth," and gave the tenor the nicest opportunity of displaying the suave musical quality of his voice, gently eeduotive at first, rising by degrees to the sweetest vibrancy in the upper register. It was en extremely beautiful lesson, apart from tho voice, in the treatment ot a great arin, as it was sung with such impeccable diction, case, and simplicity of manner, nothing exaggerated or warped by elfort for effect. The tenor was acclaimed. The bracketed number was a delightful ballad, with a quaint rhythm, entitled "Lolita" (Bum Peccia), charmingly interpreted. Tho succeeding "bis" produced to the joy of the audience .that po'pular lilt, "La Donna Mobile," from "Bigolotto," which culiminntc3 in a B natural in alt, a note that rang through the theatre with birdlike clan!/and music Still another recall brought Cappslli'. forward again to } sing "Mattinata, a beautiful ballad by Leoncßvallo, also sung with tonal grace and expression. In the second half the tenor sang with admirable dramatic conviction the romance, "0 tu che in seno agli Anweli." from Verdi's ppera, "La Forza del Destin'o." In this number his art in dramatic recitative claimed swift appreciation. Every phrase was ! alive with meaning, terso and tense, the ! final plea, "Leonara, help me, and have j mercy on my sufferings!" (in English) I was vital with poignant emotion. After ! the tumult had died down, the gentle -, "Flower Song" from "Carmen" was tonI derly expressed. The encores, givon aftor ' scenes ot marked enthusiasm, were the j melodious ballads "Veni" (DeniKi), and | I "0 Solo Mio" (Capua), both superbly ! sung. ! Another fine artist in the company is 'Mr.'John Atnodio, the eminent Mel-, ' bourne flautist, who had his earliest train- ' ing in Wellington. Mr. Amadio is po?- : sibly the most brilliant exponent of this instrument heard in New Zealand. Fo : apparently Mlnusts its possibilities in ' nil departments, and on Saturday even--1 ing his playing thrilled and cho.rmed flic 1 large audience. As n,. disnlny of puTe ) I tone the "Cradle Song" of Schubert was I; a sheer delight, and the "Gipsy Revels" : r>f Fid. German, wh'ch followed, wns n fine example of the life and colour which o/m br> infused into music with this difficult instrument. As an ciicotp lie plnved a medlev of national ai'rs, which ran'serl from "Ye Banks and Braes" to the "Marseillaise." the latter inspirinsrlv inlnverl o" the piccolo. Another recall brought Mr. Amndio forward (nee more ■f-n nlav a difficult study in imitation of i two flutes, both air and accompaniment being nerfectlv wodnewl. In Ihe second ) half the flnul:4's numbers were Mos-l-r.ret-i's "SnTenat"." "Carnivnl do * Venice" (with amazingly beeutiful k '.friationsl. the Chonin "Valse in B Fiat," and "Th» UnHerflr." Si<"ior I T.iicien Cesnroni is the possessor of a , tpft doeile b«so organ of even riiialily. ' hut lacking thnt fire and vibrancy tint I .i«e so chnrncterisHo of his cnnnl.rymen. TTis exnnsition of "the nrolosrue to "I I Pairliacci," wng in English, was cerfnin- , !v novel, if net cnnviicing. 1 TTo also sang "Mv Life's Id.>al" (To=H). ) "Vifii la mio A T Pnil«ttn." th" fnrnil'iiT air from "Lncrerin Borsria" (T)onij!?tti), ' "Obsfination" ' (Pnntnilles), --nd "BeI fausn." Miss Vnmnicn Bp'Kord. a wnrano. sang "W 1 " is Svlvin?" iSchnI hertl "Carmen" f-Wilsnn> «_4 ,q OTIFr n f , S'nnn" (Somerset) "Mv j "Rereund o " (flnnntlnu) wirV I n flute obbli»nto by Mr. Amadio, and "Mnthf"- o' Mine." ' 'Mr. Kirold Whittle's accompaniments l enhnnced every number on the programme. ) Paunolli a,nd his concert ivirty will , appear. again nt the Opera House this ' evening.