Tuesday, November 22, 2022
HomeOperaBurning and bitter magnificence « parterre field

Burning and bitter magnificence « parterre field


Lawrence Gilman within the Herald Tribune:

We acknowledged the Unknown Prince Calaf, the son of Timur, disguised as Mr. Lauri-Volpi; for if we had not recognized him by his princely garb of purple velvet and jade inexperienced and the comely determine that he made, we should always have recognized him by the pealing of his trumpet-voice as Eve, so she informed Adam, acknowledged the Tiger by his stripes. Mr. Lauri-Volpi has not forgotten how you can fling a excessive B-flat into an enraptured auditorium though final evening he needed to wait till the Princess Turandot had come and gone earlier than he bought his probability on the conclusion of his insensate apostrophe to the ruinous fantastic thing about that imperial sadist. Nor did we fail to esteem the virtues of Mr. Ludikar’s embodiment of Timur, the exiled Tartar king, nor Mr. von Wymental’s adroit and expressive dealing with of the crowds, and the vitality of the choral singing.

Nevertheless it was once more Jeritza, because it was final season, who gave edge and saliency to the lyric drama. Not one of the different chief characters fairly involves life on this efficiency – although it’s potential {that a} singing actor extra richly endowed with creativeness and projective talent than Mr. Lauri-Volpi would possibly give to the venturesome Calaf the stir and hue of romantic verisimilitude. It’s nonetheless the excessive integrity, the fusing intelligence, the taut and passionate depth of Jeritza’s efficiency that focuses no matter of curiosity the opera possesses, and facilities it on this impersonation of burning and bitter magnificence.

The fluent grace and. energy, the intuition for rhythmic line, the sensation for pose and gesture and accent, the sleepless sense of the theater, that take away Mme. Jeritza so many numerous leagues from the flatness and conventionality of that bleating semaphore, the typical opera singer,and make it potential for her to the touch with a perturbing and caustic ardour the harshness and barrenness of the musico-dramatic materials with which she is compelled to deal on this excessively troublesome rôle. She acted final evening with all her previous command of stress and of climax, and she or he delivered with prodigal tone and unrelaxing fervor (barring a slight mishap at first of her second act scene) the merciless music that the rating allots to her with so depraved persistence. . . .

As for Puccini’s rating, it impressed us extra positively than ever earlier than as vehemently and tragically vacuous. Puccini in his final years was reaching out after new concepts, a brand new approach, a subtilization of favor and feeling. For that he deserves as an artist ungrudging reward and honor. He didn’t want to vary, to subtilize; his huge and idolatrous public would have been content material to have him go on to the top of time, turning out replicas of “La Bohème” and “Madame Butterfly.”

Joyful Halloween Parterrians!

On at the present time in 1949 Marc Blitzstein‘s opera Regina opened on Broadway.

Birthday anniversaries of director and interviewer August Everding (1928) and soprano Bozena Ruk-Focic (1931).

Joyful birthday to Countess de Orsk on the Grand Ducal Council of San Francisco Dusty Pörn!



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