GRAND OPERA COMPANY

Sun (Auckland), Volume II, Issue 452, 6 September 1928, Page 15

GRAND OPERA COMPANY

PRINCIPALS OF “IL TROVATORE”

The opening - opera, “II Trovatore, on Monday will introduce to Auckland at least live of the stars of the Fuller - Gonsalez company. The music will give an opportunity for all five to shine, but this will apply chiefly to Rosita Silvestri (dramatic soprano), Nma Algozzino (dramatic mezzo). Franco Izal (baritone) and Alessandro Rota (lyric tenor). Silvestri will be heard in many numbers familiar to owners of gramophone operatic records, and the interest will be heightened by hearing these and other celebrated arias, duets and trios from the famous work, given in their operatic setting, as part of the story, and with a meaning and significance which that setting gives them. Silvestri’s principal solo numbers will be “Tacea la ‘ Xotte Placida” (“Peaceful was the Xight”), in which she sings of the unknown handsome troubadour who has just serenaded her, and “D'Amor Sull ali Rosee" ("Love, Fly on Rosy Pinions”), but she is also one of the spirited trio (with Count di Luna and Manrico) in the second scene of the first act. and she is the principal in the famous “Miserere” scene and the immortal melody, “Ah Che !u Morte.” which follows with Manrico, in which the separated lovers bid each other farewell, with vows of remembrance. Algozino has the fine dramatic aria “Stride la Vampa” (“Fiercely the Flames Arise”), in which she describes to Manrico the burning of her son by her own hands, and with Manrico she also has the great martial duet, “Mai Reggendo,” and later the haunting and touching duet, “Ai Nostri Monti” (“Home to Our Mountains”). The musical numbers and the dramatic situations associated with the parts of Leonora and Azucena, the gipsy, give to Silvestri and Algozino the greatest scope for the display of the superb histrionic ability which they both possess. Algozino’s characterisation of the gipsy is truly one of the outstanding events of the operatic season. Franco Izal. in the unpopular role of the wicked Count di Luna, ever pursuing Leonora, but never getting her, gives expression to his deep love for her in the famous air “II Balen’ (“The Tempest of the Heart”), beloved of all would-be baritones. The rich baritone voice of thlb; artist shines out in all his solos and ensembles. Alessandro Rota will show what the company possesses in the way of a pure lyric tenor, and, though he much prefers the ftmor roles in “Lucia” and “La Favorita,” he is heard to great effect in the serenade of Leonora (sang off-stage), the great “Ah. Che la Morte” in the “Miserere” scene (also sung off-stage—from the prison), and the fiery air, “Hi Quella Pira” (“Tremble, Ye Tyrants”), when he prepares to rush to the aid of the captured gipsy whom he believes to be his mother. Although pot taking a very big role in this opera. Signor Fumagalli, as Ferfando di Luna, captain of the Guard, gives the opera an auspicious beginning by the notes which roll from his great basso profundo voice at its very commencement, when in the “Abbietta Zingara" (“Swarthy and Threatening”) he tells the count’s retainers the gipsy’s story. From the first note of his entrance the opera is made, as the audience realises that some uncommon vocal treat is in store.