GRAND OPERA

Sun (Auckland), Volume II, Issue 350, 10 May 1928, Page 14

GRAND OPERA

WILLIAMSON-MELBA SEASON TO COST £IOO,OOO Mr. Nevin Tait, London director of J. C. Williamson, Ltd., and J. and N. Tait, arrived in Australia recently for the Willi a mson-Melba opera season. He said that in addition to many leading operatic artists, 150 cases of costumes, properties, and scenery will be brought to Australia, in order that 28 operas may be produced on the same scale as at the famous La Scala Theatre. Since the first arrangements were made, said Mr. Tait, alterations had been rendered necessary in the personI nel of the company. Signor Gaetano Azzolini, basso, had a stroke a week before the Orsova sailed, and could not make the trip. His place has been filled by Antonio Gelli. Other changes had also to be made. The following is a list of the principals:— Sopranos: Toti "" Hal Monte, Arangi Lombardi, Lina Scavizzi, Hina Spani, Elena Daniele, Lucia Bonetti, Xenia Belmas, Aurora Rettore, and Ida Mannarini. Mezzo-sopranos: Giuseppina Zinetti, Vere de Cristoff, Marion Frank, and Carmen Tornari. Tenors: Francesco Meril, Angelo Minghetti, E. de Muro Lamonto, Ettore Cesabianchi, Browning Mummery, Luigi Cilia, and Luigi Parodi. Baritones: Apollo Granforte, John Brownlee, Rossi Morelli, Emilio Ghirardini, Angelo Pilotti, and Giuseppe Satariano. Bassos: Fernando Autori, Umberto di Lelio, Corgado Zambelli, Mino Marotta, Antonio Gelli, and Oreste Carozzi. In addition to the operas already announced, the list will include “Andrea Chenier,” “Cavalleria Rusticana,” “Fedora,” “Pagliacci,” Massenet’s “Manon,” “Madame Butterfly,” and “Thais.” The cost of the productions is stated to be £IOO,OOO, and nightly performances of some operas will entail a cost of over £2,000. It is intended that all capital cities in Australia will be visited by the company. Toti Dal Monte stated that before leaving Rome she gave a command performance before Signor Mussolini.

A tumult was raised in Germany recently when Director Sekles, of the Frankfurt High School of Music, announced a course in jazz music. His attempt "to infuse negro -blood in the German Tonkunst” caused a protest by many eminent educators and musicians, among them such a modernminded gentlemen as Franz Schreker. Despite everything the course remains in the Frankfurt curriculum. Dr. Sekles’s move is eminently practicable. There is a great demand in Germany for jazz-trained performers. Whyshould they not be taught in the best academies where they mav absorb decent ideals of art, even if they are to make their music a trade?