Hide Article Text (OCR)
THE ADVOCATE 19IMMW(By CTrank ITlurphy“La Boheme”(Tivoli IThe Sydney National Opera Company of Australia's La Boheme has, as it stands, all the elements which, with a few thorough rehearsals under a producer fired with imagination and a sure sense of stagecraft, could be transformed into a really fine performance. As it is, it is a blurred, indefinite picture that requires sharp focusing. This is apparent, notably, in the Cafe Momus scene, the second act, which is crowded in a disorderly and undisciplined way that obscures the principals and does not allow the many little character sketches which Puccini represents in his music. The set, too, lacks atmosphere. The only part that is convincing is the latter part of act four. Here, Miini's death scene (paradoxically) does come to life. In the first act, particularly, but throughout the opera, the clumsy fiddling with lighting betrayed, on the opening night, a want of rehearsal that would not be tolerated in any efficient amateur company.the last act and the snow scene at the Toll Cate—the instrumental dawn theme of which, curiously, is the air of Ursula's evening song in Sullivan's earlier Golden Legend —are well contrived.—F.M.“The Barber of Seville”TAIS TARASHow near this production is to a success that could be phenomenal is seen in the character of Mimi. Tais Taras is born to the role. With a personality that exactly fits, she has a lovely voice that is most exquisite in the tender passages, easily powerful when necessary, but never strident, and appealing always. The defect is that she can seldom be understood. If one is content to forget that the opera is supposed to be sung in English, her singing is a delight. This shortcoming is not, however, to bo put down to the fact that Tais Taras is a New Australian; it is evident also in practically all the principals, except Ronald Dowd, who gives a splendid example of clear articulation. If opera is to be sung in English (as it should be), it is the producer's job to insist on the sounding of consonants as well as vowels. When an audience can understand what is being sung it becomes responsive and enthusiastic. In this matter of intelligibility the present production of La Boheme fails lamentably.(Tivoli)Though La Boheme and The Barber of Seville, in the present season, are attributed to the same producer, John Dudley, the evidence of good direction is as conspicuous in The Barber as its absence is conspicuous in La Boheme. Hardly any fault can be found with the articulation of the principals in their magnificent Rossini roles; in pleasant fact, they are so good that complete sympathy is established between players and audience and the performance is greeted with expressions of delight and accompanied by uproarious appiause all the way through. It is a thoroughly enjoyable production in which the comedy is exploited to the full in well-polished characterizations, and in which the singing, on the whole, is all that can be expected, and, frequently, of uncommonly liigh standard.HAUNTING PERFORMANCEIn her acting Tais Taras is a little stiff, or nervous, and restricted in her gestures, but tliis can easily be remedied. Despite the foregoing strictures, the worth of her performance is haunting.Ronald Dowd’s Rudolph is clearly and manfully sung and acted, though lacking sometimes in warmth and mellowness, and there is good material in the performances of Marcel, the painter (Geoffrey Chard), Schaunard, the musician (Neil Easton), Colline, the philosopher (William Diamond), Musetta, the grisette (Beryl Hardy) and the double roles of Benoit, the landlord, and Alcindora, the councillor (Frank Lisle) but they require just that attention necessary to make their characterizations stand out coherently.In the last act, the poignancy of the death scene and Colline's farewell aria to his great-coat were spoiled on the opening night by a foreign off-stage crackling, which led Rudolph to leave the bedside and go off to see what it was all about.Tibor Paul's direction of the orchestra is alert and resourceful and tho atmospheric effects, notably the hushed tenseness ofSTEWART LOWEProprietors: Murphy MorrisonSANITARY PLUMBERS. GAS AND HOT WATER FITTERS. Estimates Given for House Repairs of All Descriptions.179 PARK ST. SOUTH MELB . SISGLENDA RAYMONDGlenda Raymond's Rosina is sung with that remarkable purity of tone and easy fluency of coloratura technique that are among her special gifts. In addition, she acts charmingly in the artificial manner of the opera. The extraordinary ovation she received on the opening night is proof of the effect of her performance. Robert O'Donnell, as Count Almaviva, who gains admittance to Dr. Bar-tolo’s home to woo Rosina by masquerading as soldier and music teacher, has not a great tenor voice, but he sings and acts agreeably and throws liimself enthusiastically into the fun of the thing.Geoffrey Chard’s Figaro, the barber, is lively and popular. His performance of the famous factotum aria is uneven in brilliance and has lapses in intonation, but in general effect he is irresistible. Frank Lisle, as Bartolo, is a droll figure, and sings richly. The greatest comic characterization ol all, that of Don Basilio, the rascally music teacher, is superbly playedby Alan Light. The small part ofBertha, Ilosina's governess, is capably done by Beryl Hardy, with her dainty little solo, which, with the storm music, fills tho stage while the count is changing his costume for his final entrance. In short, the characters in this performance of The Barber are sharply focused, as, I suggested above, the characters in La Boheme should be.composer's temporarily buoyant outlook on life. After hearing the music which followed Hindemith's Concert Music for Strings and Brass, it is difficult to believe that the composer and Beethoven followed the same profession. Hindemith's jarring music is not calculated to have a universal appeal, and in the hands of an unskilled conductor it is likely to sound incomprehensible.Even after hearing the strong performance given by the Victorian Symphony Orchestra, it would be presumptuous to predict immortality for this extremely concentrated but impersonal music.At both concerts Bela Bartok’s Concerto for Violin and Orchestra was played with the young New Zealand violinist Alan Loveday as solo artist. Bartok's music is noteworthy for its rhythmic strength and savour, and his violin concerto is no exception, while displaying many difficulties of interpretation for both soloist and orchestra. In music of this typo it is difficult to separate the excellence of the solo player’s performance from that of (he orchestra, except to say that at times Mr. Lovcday’s playing was more ruthlessly efficient than fiery.Mozart's Haffnrr Symphony which opened ihe programme of the Saturday night's concert was given a beautiful interpretation by Hans Schmidt-Isserstedt, finely-balanced, elegant in phrasing, yet not without a strain of seriousness, as if to dispel any illusions that Mozart's music is only sparkle. The genius that created this music in two weeks for a commission, shames many other commissioned works that bear the ohvious traces of straining for inspiration.The concert ended with a performance of the Brahms Symphony No, 2 in D Major, that was near perfection. While this is the most joyous symphony written by Brahms, few conductors seem willing to allow us to hear any of his works with our hearts as well as our minds. Hans Schmidt-Isserstedt produced a masterpiece of clarity witli beautiful passages of playing by wind instruments, but the most enchanting feature of this interpretation was that the music glowed with the natural magic that is usually associated with the spontaneous joy aroused by Schubert's music.-E.V.G.IRISH FILM NIGHTPraise must be given to Tibor Paul's direction of the orchestra, which gives a delightfully sensitive performance of the overture and is a pleasure to listen to throughout a score packed with piquant instrumental touches.Erin’s Own Athletic Club will hold a film night at Kelvin Hall, 53 Exhibition-street, off Collins-street, on Tuesday. 1 September, commencing at 8 p.m. A three-hour programme has been arranged. and in addition to the main feature Hill No. One,” starring Ruth Husscv, films on recent All-Ireland final? in Gaelic football and hurling will be shown.The stage set in act one is admirable, though the effect on the first night was marred by uncertain lighting, but the interior set, for the remaining acts, is unnecessarily drab. The hand ofRosina, surely, would give some grace to the apartment.Finally, our opera companies singing in English should have librettos such as The Barber rewritten, so as to do away with absurd repetitions. A sentence or two, expanding the idea, can easily be substituted.-F.M.* ★As the seating accommodation in this hall is limited, it is advisable to obtain tickets carlv, and this may be done by contacting secretary J. Kerrigan (MU 8386 and FJ 4829).CONCERT TO AID NEW CHURCH AT ROSEBUDTo aid in the building of a new church at Rosebud, a variety concert, compered by Dick Cran-boume, of 3DB, will be held in the Philip Ballroom, Rosebud, on Sunday. 6 September, at 2.30 p.m.LAY RETREATSCelebrity ConcertThe following retreats have been arranged:Ava Maria
Newspaper Details
Melbourne Advocate
Melbourne, Victoria, AU
Thu, Aug 27, 1953
Page 11
Full Page
Clipped by
Anonymous
AU 10 Dec 2024
Other Publications Near Melbourne, Victoria
Melbourne Record
Melbourne Punch Thu
Melbourne Public Opinion
Melbourne Norden
Melbourne Herald
