"LUCIA DILAMMERMOOR"

Dominion, Volume 13, Issue 286, 27 August 1920, Page 8

"LUCIA DILAMMERMOOR"

DONIZETTI'S OPERA REVIVED "I,una di Mmmemoor," a grand opera in three acts, by Donizetti. Cast:r lUC ia, Miss (icrtrudo Johnson Aiua M«. If. J. Ccventry Eagardo ::„ it- Ivan Taibayeff Arturo « r - Qco - Bcßher Normanno Mr. Geo. Bosher Enrico Mr. Robert Orr Eaimondo '. Mr. frank Charles Of the sixty-five operas composed by Donizetti in the first half of the latter century, few remain in the repertoire of modern opera companies to sing of the glory that once was his. Of those few perhaps "Lucia di Lanimermoor" holds pride of place in the regard of English audiences, though musically it is doubtful whether it is the superior of "Don Pasquale" or "La Favorila," not to mention the lighter work, "The Daughter of the Regiment," which was made famous by Jenny Lind, Patti, and Albani. "Lucia" ' holds its place on the first instanco because of tho splendid opportunities, both lyric and dramatic, it offers a soprano to display ner talent in both deportments of. operatic culture, and. secondly, because tho opcru enshrines the sad story of Lucy Ashton. the heroine of Sir Walter Scott''? novel, "The Bndo of L'ammermoor." That wn should hear the work in operatic and concert fo/m within twelve months is pioof that there are still those who bo lieve'in the charm of its melodious score to attract. The Choral Union made nmistake in its cboice. The Town Hall ■was packed, and the Union is to be congratulated on a very good performance, illuminated, of course, by a particularly brilliant reading of the name part by Miss Gertrude Johnson, of Melbourne, whose exposition of. this role alone should gx> far Towards advancing her to a higl> plane on the oneratic stage on a broader field than -New Zealand can offer. ■ AHss Johnson, who sang the role in Italian, almost InHenendent of score, sang tiio music with finished artistry. Her freah. mobile voice, crystal clear in tone, ami always perfectly truo to pitch, is beautifully suited to the coloratura role; confidence and ease in execution, all through tho long part—the «penin,g aria, the lino duets with Edgardo and Enrico, the seitot, and finally in the florid music of the famous mad scene (with its amazing vocnl difficulties)—alt made for a peK formance that will long be rememrjercd in Wellington. .At the conclusion of the "mad scene," Miss Johnson was accorded a veritable ovation, which she unquestionably deserved. Her impassioned sinking to,o, in the familiar sextet was also largely responsible for the emphatic encore that number earned. "Lucia" is a principal's opera, the work of the. chorus being almost negligible, and on- the whole the cast was' adequate. Next to Miss Johnson, the best performance wa3 easily that of Mr. Robert Orr, a youmr Wellington singer, who was admirably suited to the role of the scheming father of the ill-starred Lucy. Mr. Orr nos a woll-placed bass-baritone voice of 'much emotional power and sweetness, and he sang the heavy part like a veteran. He was heard to advantage in the duet in the wedding scene, and' was never at fault in the numerous recitatives and vocal exchanges with tho other characters. Mr. Orr's vocal quality and reliability should give him a place among the acknowledged soloists in these parts, | The tenor rolo of Edgardo was entrusted i to M. Ivan Tarbayeff, a Russian visitor, who. it was quickly noticeable, has ev£ dently been soundly trained. His voice is light and pleasing, but owing to being a stranger to the music up till a fortnight ago, he had to depend on his score almost to'a note, and could not give rein to those feelings which tear at the grief-stricken bosom of the distraught lover, and consequently the role lost in dramatic values. Ho was probably at his best in tho first act duet with Lucia, in which the tenor is called on to 6ing in E flat in alt. Here M. Tarbayeff showed his quality by singing the note clearly and ringingly from thcchwt.and moreover, sustaining it, an efforf probably never beforo attempted in Wellington. There was a passage in tho sextet in which the tenor went sharp, and in the Inst scone he was -also slightly off pitch. Still, for a- rush effort, (he performance was creditable. Mt, Frank Charles was notably'good as Jiaimondo (basso), Mr. George Bosher displayed a swret toned light tenor in the dual rolea of Arturo and Normanno, and Mrs. J. H. Coventry sang the music of Altai. Tho chorus sang with good strength, balnnce, ami rhythm, notably in the. melodious chorus "Hark Now For Thee a Boundlea Joy." The work of tho orchestra was distinctly patchy, often uncertain in attack, and anaemic in nccoiiipaiii-' ment. The harp part for Lucia's opening aria was relegated to the piano, and AHsc Simpson played, the flute obbligato to the "mad scene" music with distinr- ' Hon. Mr. H. Temple White conducted ' with his usual ability, and to his conscientious work was due much of tho 1 success of the performance.