“LOHENGRIN”

Sun (Auckland), Volume II, Issue 474, 2 October 1928, Page 15

“LOHENGRIN”

GONSALEZ’ GREAT EFFORT A FINE PERFORMANCE At first just the faintest whisper of sound high up in the strings—so high and muted that as it grows slowly in volume it seems to come from the very heavens. Then from the middle voices of the orchestra just as gently emerges the Grail theme. It grows in volume, broadening with majestic effect to its .subdued but tense climax — it is the vision of* the sacred cup descended from heaven —then just as gently it fades away, and is gone. Thus the famous Prelude to “Lohengrin.” It is almost “Lohengrin” itself. From his strings Maestro Giovanni Gonsalez caressed the fragile tone with infinite care. Just as carefully he held the gradually diminishing thread until, so it seemed, in its gossamer lightness it faded away. In vivid contrast was the fine declamatory singing of the King, Frederick of Telramund, and chorus of soldiers that immediately followed in the opening scene that picturesque setting on the banks of the Scheldt. Then the coming of Lohengrin, trial by combat, the wedding scene, and then the Grail theme. Once again the motif rises to a beautiful climax as Lohengrin announces he is the son of Parsifal, the keeper of the Holy Grail, and with thi& the music disappears. Nowadays Wagner is certainly a tradition, and that it is treated with r - spect by the Fuller-Gonsalez Compaiy was • apparent from the manner in which all members rose to the occasion last evening. Although a massive work requiring vocal and choral weight greater than that possessed, the Fuller-Gonsalez Company succeeded in staging the opera in a sufficiently satisfying manner, which, for Wagner, is saying a great deal. The opera has evidently been well rehearsed and principals, chorus and orchestra entered into their work with a thoroughness and desire to please that earned for them the warm regard of a keenly appreciative audience. The opera commenced punctually at 7.30 p.m. It was not expected that it would end until 11.40, but efficient stage management enabled the company to save sufficient time in the intervals between acts to conclude at 11 o’clock. AN APPEALING ELSA High praise must be accorded the principals for the manner in which they acquitted themselves in very exacting roles. As Elsa,. Margherita Flor was very suitably cast. Vocally she is well equipped, and her fine stage presence and histrionic ability enabled her to raako a very convincing study of the role. Hers was a very appealing Elsa. Her beautifully modulated soprano, with its exquisite purity of tone in the middle register, was particularly pleading. In the courtyard scene her balcony number was one of the most delightful things heard during tli© season. Also in “Elsa’s Dream" and in the bridal procession, and later in the final scene, Signorina Flor was really brilliant. It was indeed an inspiring pe./.rmance. Of outstanding merit was also the work of Signorina Algozino and Sis-, nors Izal and Fumagalii, who, in strict fairness, must be bracketed. Fuinigalli’s resonant bass was beard to excellent advantage as the King. His big number, “The King’s Prayer,” was a splendid effort, and with Elsa’s balcony number and Ortrud and Frederick’s duet in the plotting scene, was one of the best things of the opera. Signorina Algozino’s Ortrud was in distinct contrast to the softness and lyric charm of Elsa. Here was a passionate and more vital creature, and in her fine declamatory singing the i contrast was well maintained. During the wedding procession her dramatic work was really excellent. Signorina Algozino is to be congratulated on her best performance to date. Izal, was, of course, consistently steady. An accomplished singer and a fine actor, he is equal to almost any occasion. With Signorina Algozino in th© opening act he sang superlatively well. In the title role Signor Vannucci gave his best performance of the season. He has now recovered from the cold which somewhat affected his work earlier, and last evening sustained a pure, even tone throughout a heavy performance. His singing of the “Narrative,” and also in the bridal chamber scene, was good. Perhaps his best number was the farewell to the swap, “My Beloved Swan.” This, in its pleasing restraint, was very effective.

In the minor role of the herald. Signor Federici was satisfactory. Mention must also be made of the excellent singing of the four pages, Signorinas Pfrimmer, Mazza, Piccolo and Maschini, in the wedding scene. For four voices, exceptional volume was attained.

The orchestral work, despite the shortage of parts necessary for Wag-

ner, was of a high standard. An organ was included to make up the wood-wind, and the balance and tonal shadings were really good. To the management, and particularly Signor Giovanni Gonsalez. the congratulations and thanks of the music-loving section of the comniuni are undoubvdly due.