ENTERTAINING OPERA

Sun (Auckland), Volume II, Issue 465, 21 September 1928, Page 15

ENTERTAINING OPERA

“THE BARBER OF SEVILLE” SCAMUZZI’S TRIUMPH No further evidence of the popularity of the Fuller-Gonsalez Grand Opera Company with Aucklanders is required than the large audience at St. James last evening. Although nearly two weeks have elapsed , since the season commenced, . enthusiasm, far from being on the wane, is obviously increasing. * Last evening it was an appreciative and' delighted audience that followed with keen interest that light and delightfully humorous opera, “The Barber of Seville.” It was treated to a splendid performance by a company that entered thoroughly into the gaiety pervading Rossini’s light and piquant music, and which exploited to the utmost the entertaining situations that constantly arise. Signorina Olga Poletti was Rosina — a modest girlish figure in distinct contrast to the passionate Violetta of “Traviata.” Her work was necessarily more restrained, but nevertheless very effective. Although not such an exacting singing role as “Traviata,” Signorina Poletti made the most of every opportunity, her work in the music lesson scene rising to brilliant heights. Her choice for the “lesson” was Beraccini’s “La Capinera,” in which some sound technique and pleasing flutelike quality were shown. BRILLIANT BARITONE

“The Barber of Seville” is, of course, Figaro’s opera. Into this role Signor Scamuzzi threw himself with delightful abandon. His Figaro, the general factotum of the town, is a gay, laughing fellow, and his own particular brand of humour proved decidedly infectious. Even if at times Signor Scamuzzi took various liberties with the role, results justified them. In the “Largo al Factotum” number, the finest air of the opera, Figaro has a wonderful entrance and Signor Scamuzzi’s fine resonant baritone enabled him to make the most of it. In this very difficult number the baritone displayed fine range and really excellent control. It was the artistic triumph of the performance and one Which thoroughly deserved the repetition insisted upon. The delightful duet with Signorina Poletti, “Am I His,” was also beautifully sung. Signor Alessandro Rota, who quickly woikpopularity with Auckland opera-goers, again sang with fine emphasis in the tenor role of Count Almaviva. In the beautiful lilting serenade “Ecco Ridente” his fresh and tuneful lyric tenor was heard to particularly good advantage. Signor Rota also entered enthusiastically into the comedy element. The impressive basso Nprofondo of Signor Ernesto Fumagalli was heard in the role of Lon Basilo, the music teacher, a part that suited him to perfection. His singing of the famous “La Colunnia” number was a sheer delight. Much of the comedy of the opera rested on the shoulders of Signor Alfieri who, as Loctor Bartolo, acquitted himself with distinction. The “II Vecchietto” number was sung pleasingly by Signorina Pfrimmer, whose work as the governess was up to her usual good standard. A feature of the opera was the very fine singing of the principals in the sextet at the conclusion of Act I. The direction of the opera was again in the capable hands of Maestro Giovanni Gonsalez, whose influence was always apparent. This evening Bellini's “Norma” will be repeated.