HENKINA’S DEBUT

Sun (Auckland), Volume II, Issue 458, 13 September 1928, Page 14

HENKINA’S DEBUT

“RIGOLETTO” AT ST. JAMES POPULAR PERFORMANCE There is no mistaking the popularity of “Rigoletto.” When it was presented by the Fuller-Gonsalez Company at St. James last evening it was followed with rapt attention by a large and very appreciative audience. The more popular numbers, such as “Questa o quella,” “Caro Nome,” and the famous quartet, were obviously awaited with keen anticipation. When Signor Giovanni Gonsalez swung his orchestra into the opening bars of me ever-popular “La donna e Mobile” there was an audible murmur throughout the house. The more one sees of Verdi’s “Rigoletto” the more one realises the amount of padding indulged in by this composer, and also its very obvious structural weaknesses. Nevertheless it contains some very fine music and when enacted with the verve and spirit as shown last evening one can forgive it many faults. It was in “Rigoletto” last evening that Signorina Maria Henkina made her debut. Her coloratura soprano contains some line notes, but it is not without that edge that the lighter sopranos generally show in the dramatic numbers. Possessed of uncommon beauty and a strong sense of the dramatic, she makes a very satisfying Gilda. Some of her numbers, particularly the staccato air in “Caro Nome,” and in “Lassa in ciel” (“In Yonder Heaven”) which closes the opera, she made a strong appeal. Into her acting Signorina Henkina imparted fine emphasis, really excellent work being done with Rigoletto in the “Piangi, Fanciulla” and “Si, vendetta, tremenda vendetta” scenes. IZAL’S BIG ROLE It was Signor Franco Izal, however, who was the outstanding figure in the opera. As the hunchback clown he was responsible for a splendid character study, apart from the consistently high standard of his singing. It was a fine performance crowned by some really great moments in the scene where Rigoletto, who has laughed so often at the fate of a maiden, discovers that his own daughter is in the hands of the libertine Duke. In a great climax to the second act he made a passionate and truly impressive appeal for revenge. Owing to a severe cold Signor Vannucci was unable to play the Duke and this role was taken by Signor Alessandro Rota. Despite the fact that he had sung an exacting tenor role at the matinee performance that afternoon in “II Trovatore,” Signor Rota sang with surprising freshness. His lyric tenor possesses nice quality and when required he can produce a clear ringing top note with all the thrill necessary i for a tenor lead. Signor Rota is also ■ blessed with youth, fine physique and good looks. His best work was done in the “Questa o Quella,” “La Donna e Mobile” and in the “Bella figlia dell’ amore” quartet. In the latter he was exceptionally pleasing. In addition to singing two roles yes- I terday Signor Rota will sing the role j

of Edgar in “Lucia di Lammermoor” this evening, truly an exacting task. The famous quartet in the last act was sung with exceptionally fine spirit and was easily the most outstanding feature of the opera. A repetition was demanded.

Signor Alfieri, he of the big bass voice, was the hired assassin. Without being too ostentatious he gave the appearance of being thoroughly professional. Undoubtedly his assassin was a man who took great pride in his work. Signorina Matilda Pfrimmer, in the

dual role of Maddalena and Countess Ceranop, sang with charm and was always graceful. In minor roles Signorina Mazza (Giovanni), Signor Gilson (Count Ceprano), Signor Francesco Federecci (Count Monterone), Signor

Gilgardi (Borsa) and Signor Gardelli I (Marullo) performed and sang satisfactorily. Although there is not a great deal of ensemble work in “Rigoletto,” what there was was always of a high standard. Attacks and releases were sharp and clean and volume was always satisfying. Signor Giovanni Gonsalez again had the singers and orchestra under perfect control.