BELLINI’S “NORMA”

Sun (Auckland), Volume II, Issue 461, 17 September 1928, Page 15

BELLINI’S “NORMA”

A FINE PERFORMANCE Judging by the packed house which witnessed the production of Bellini’s masterpiece, “Norma,” at St. James on Saturday night, it is evident that the Fuller-Gonsalez Opera Company has firmly established itself in the hearts of Auckland music-lovers. As the season advances, the performances of the company increase in interest and merit, and possibly that on Saturday night was the best so far given. Bellini, who died so young, was a composer of no little genius, which is evident in many places in “Norma,” and to a less extent in his other great opera, “La Sonnambula.” Though there is a certain sameness in the rhythms of his old-fashioned accompaniments, there is abundant evidence of his taste in orchestration, some of his obligati, especially for wood-wind, being particularly clever and graceful, while the orchestral preludes in a small way have now and again quite a little Wagnerian touch about them. “Norma,” which was written almost 100 years ago for the brilliant soprano, Madame Pasta, tells the tragic love story of the Druids’ high priestess, and has a strongly dramatic setting. The melodies are both graceful and- vigorous, and typically Italian in style, while the choruses are well moulded and contrasted.

As the High Priestess Norma, Signorina Silvestri was heard at her best. Eminently successful as Leonora in “Trovatore,” she was doubly so as “Norma.” Her fine dramatic soprano well suited the Bellini music, and her singing of the beautiful aria, “Casta Diva,” was supremely artistic and moving. 'the following cavatina, “Ah Bello a Me Ritorna,” was most brilliantly sung and acted. Her “floating” notes in “Casta Diva,” the bright Italian tone in “Ah Bello,” and the extraordinarily clear enunciation in all her work, were points of special mention. Later, in the fine duo with Adalgisa, ending with a brilliant cadenza for both voices, and in the duet “Qual Cor Tradisti,” with Pollione, Signorina Silvestri won great honours both musically and dramtically. The part of Norma’s rival, Adalgisa, was well sustained by Signorina Algozzino. She is gifted with great histrionic powers, and her singing at times is admirable. Her recitatives were specially praiseworthy, while her great duet with Pollione, ending with the high unison, and the already mentioned duo with Norma, were convincing examples of her art. One of the best scenes of the opera was the terzetto between Norma,* Adalgisa, and Pollione, when the high priestess denounces Pollione. In this the artists were intensely compelling. Signor Arturo Lamburini made a double first appearance on Saturday, firstly in the afternoon in “La Traviata,” when he sang in place of Signor Vannucci, and secondly in the evening as Pollione, the Roman, in “Norma”— an exacting task for one day. Signor Zamburini has a powerful dramatic tenor of extensive range and reliable intonation, and he sings with vigour and skill, but the tone at times rather approximates that of a high baritone. He has a manly presence which suited the part, and in the great duos w'ith Norma and Adalgisa, and in the famous terzetto, he was very effective. In lyric passages there is sometimes a noticeable vibrato on high sustained notes, but in forceful and descriptive phrases this is not evident.

Orovesco, the arch-druid, was interpreted w*ith great success by Signor Fumagalli, whose rich and melodious bass voice won the warmest approval. His solos in the first and last acts were sung with great artistry, w-hile his recitatives were models in declamation. The company is extremely fortunate in possessing two such fine basses as Signori Fumagalli and Alfieri.

In the minor part of Clotilda, Signorina Pfrimmer again sang and acted most acceptably, while Signor Gilardi displayed attractive tenor tone in the music allotted to the centurion Glavius.

The chorus sang with much more finish and spirit than in some of the earlier productions. There was a fine marital swing about the Druids’ March, and the semi-antiphonal chorus in the last act was very well done. The orchestra showed good style and phrasing in the overture and preludes, while more restraint was a welcome feature of the accompaniments. The solo flute, clarinet, and ’cello, were conspicuous for some tasteful and neat playing during the evening. Signor Giovanni Gonsalez directed the opera with his usual skill and artistry. S.K.P.

Edmund Burns, w'ho was brought to Australia by Australasian Films, Ltd., to play lead in “The Adorable Outcast,” has been signed by Columbia Master Pictures to play masculine lead in “Ransom” adapted from the story “San Francisco. William V. Mong and “Blue” Washington have also been signed for feature roles in this colourful mystery melodrama.