“CAVALLERIA RUSTICANA”

Dominion, Volume 14, Issue 220, 11 June 1921, Page 8

“CAVALLERIA RUSTICANA”

BY THE CHORAL UNION. "CavaUeria Rusticana” was the one big creation of Mascagni’s brain. He has written other operas, some of them very good, but to the world ho is known as the composer of "Cavalleria,” just as Wallace is remembered by his “Maritana," Balfo by "The Bohemian Girl,” and Bizet by "Carmen.” It was written when Mascagni was tho conductor of an itinerant operetta company. Tho idea of "Cavalleria” had possessed him for years, and he made good progress with it as soon as his friend Targioni supplied him with the text. Finally it was completed, and he submitted it to a musical friend, who pronounced 't "rubbish.” Then Sonzogno, the Italian music publisher of Milan, offered a prize of 2090 francs for the best one-act opera, and “Chvalleria” won—at _ a time when Mascagni and his family were subsisting on half a crown a day. Its success has never been in doubt. Its almost brutal strength and fell purpose, its fine dramatic crashes, its beautiful gushes of the purest melody, and the soul-satisfying richness of its orchestra make the music a' living tragedy of sound in perfect harmony with the poignant domestic tragedy, _in -which love, hate, and revenge positively leap at one. '

Last evening’s performance of "Cavalleria" by the Choral Union marks the third time this opera has been given in Wellington in concert form, whilst only some four years ago the Gonzales Opera Company presented tho work. Without doubt it was one of the best operatic performances in tho history of tho union—best without question, in two important respects, namely, the clean, confident, and spirited rendition of the score by the orchestra, and the praiseworthy manner in which everyone —orchestra, soloists, and chorus —entered into the spirit of the opera. As Mascagni’s triumph was largely orchestral, it was with no little interest, perhaps some anxiety, that one anticipated the performance, but the first ten minues brushed away ell doubts, and left one wondering at the improvement made. Tho strings were full-bodied in tone and bowed beautifully together; the woodwinds were excellent, the brass was sound, even to the French horns, and the inclusion of the chimes and the harp completed a fine ensemble. And they were all in tune, and best of all, were clean in attack end release. If Mr. Temple White can hold his orchestra together, the union’s performances are going to benefit enormously, us in the past this has been a weakness. The union was fortunate, too, in its soloists. Miss Teresa M'Enroe sang the role of Santuzza with fine declamatory effect, rising splendidly to every demand made by the strenuous part. Commencing quietly and modestly, but ever suggesting tha(t note of impending tragedy, she worked up a tremendous crescendo right through the long scene, with luriddu, until tho betrayed wife pleads to her faithless husband, and rejected, tells Alfio of her husband’s treachery with Lola (Alfio’s wife). It was a remarkable piece of intense dramatic vocalisation. Tho scene, which is the principal one in the opera, could not have been the success it was without a good Turiddu. and here again the union was fortunate in its choice. Mr. Hubert Caller’s sweet and admirably controlled tenor is lyric in texture, but he sang so securely, and with such finish and dramatic sense that his work throughout was excellent. He sang 'The Sieiliana,” which occurs in the orchestral prelude with tonal charm and nice expression, and fairly shared with Miss M'Enroe the honours of the big duet, (hough his voice did not come through the orchestra w well. He sang the •‘Drinking Song” crisply, but was «t his best in the appealing song (to Jus mother), which is sung with the instinctive knowledge that he is about to be. killed. Into this number he poured n wealth of feeling. Dramatically, Mr. Hamilton Hodges was effective as Alho, but tonally he w»is scarcely eeeuTe, which was probably owing to a cold, lie threw vigour into the mule-drivers song and was fiercely puiposeful in recitative. Mrs. Lanee Mayshior, who sang the role of Lucia most effectively has a silrong contralto organ. which, is marred by a palpable tremolo. Her work was quite sound, and she, too, was imbued with the significance ot the character she represented. Mrs. Alexander sang Lola’s one solo very sweetly The chorus was strong and well balanced, and sang prayer and chorale very well indeed. Another fine chorus was “Now Homeward Returning. lhe performance of the famous “Intermezzo by the orchestra was executed with rare delicacy, and had to lie repeated in order to stem the applause. Mr. 11. temple White deserves congratulation tor the manner in which he controlled his The performance will be repeated at the Town Hull to-night. The box plan will close at the Bristol at 12.30. A supply of 2s. tickets will be on sale at. the box office till the closing ot the plan. The doors will open at 7.15, and the opera commence at S. z