The Ambition of a Lifetime Realized

Radio Record, Volume VI, Issue 19, 18 November 1932, Page 6

The Ambition of a Lifetime Realized

Molly de Gunst Before the 2ZW Microphone

AST week, listeners to 2ZW + had the pleasure of hearing Miss Molly de Gunst, the > Australian prima donna _ travelling with the Imperial Grand Opera Co.,. talk on her career. As an Australian I naturally expected to find some of the same characteristics among. the people here as are to he found on the other side of the Tasman-that the appreciation of grand opera in this country would be as marked as it is in Australia-but 1. hare been amazed at the magnificent enthusiasm of the New Zealand audi-

ences. Not only are the audiences most appreciative, but the people I have met in private life have been indeed most kind, About nine years ago I left my hometown, Bundaberg, Queensland, to further my musical studies with Madam Christian, the Garcia School of Music, Sydney. While studying under Madam Christian, I frequently performed in concert and oratorio work in Sydney, singing in "Messiah," "The Creation," "Judas Maccabeus," "DHlijah,"’ and a concert version of "Aida" with the Royal Philharmonic. Grand opera has always attracted me. Deep in my heart I have always had a longing and a fervent hope that one day I would appear in grand opera. ; My first appearance in grand opera was in Beethoven’s "Fidelio," which was produced by the New South Wales Conservatorium of Music. Up till the time of the inception of the Imperial Grand Opera Company, I had never sung with international singers. In fact, during the years in which I studied in Sydney, there seemed to be no possible scope for anyone to develop on the grand opera stage. There were scores of others waiting for an opportunity that, wouldn’t.come. I was feeling very depressed and had decided to give up all thoughts of a stage career and return to my parents in Bundaberg, when the miracle happened, , SE a a a

The Imperial Grand Opera Company was being formed: and there were vacancies in the chorus and for some of the minor parts. I could not at first realise that an opportunity had come and, when I did, I wondered if I should be success: ful and be selected ; 500 voices were given auditions and to my delight: I was selected for the post of understudy to the dramatic soprano, Surani, My feelings cau be better imagined than described. I was a member of a° grand ~ opera company. True, 4

very unimportant member, but stul a member. I was in grand opera; my life’s ambition realised. Still yet another surprise was "in store. Surani, brought out from Italy as dramatic soprano of the opera, was unable to fulfil the engagement and her place was offered to me. My chance had really come this time. I am singing in grand opera and I love it. People have asked me which is my favourite role but, strangely enough, I haven’t one. Each opera becomes part of one’ life for the moment. We assume a different character. | We try ‘to live the part and enjoy every minute of the work. My first. appearance with the company was in "Aida," perhaps the greatest -of Italian grand operas-and the biggest work of Verdi, a composition which undoubtedly shows Wagnerian influence. Of course, the life of a grand oper: prima donna is not just a bowl of roses. There is. hard work and plenty of it, especially in the early stages, but when one is fired by ambition’ and enthusiasm, hard work is never irksome, The conductors, Maestro Rossi and Maestro Aldrovani, have been most helpful.to me. . I also want to pay a tribute to my colleagues the Italian artists. You have no.idea how helpful they have been. Many of them are world-famed artists. They accepted me as one of themselves, and we are all one’ happy. family. : . see ~