Los Angeles herald., 1908-12-29
ITALIANS SING
VERDpS OPERA
'RlG0LETT0' DEL IGHTS LARGE
AUDIENCE AT MASON
MODEST AND RATTAIN ACHIEVE
SUCCESS IN MALE ROLES
Men and Women of Social Importance
Dignity Opening of the Opera
Season by Their
Presence
BY FLORENCE BOsARD LAWRENCE

BY FLORENCE BOSARD LAWRENCE
The Mason opera house boasts no
grand tier" consequently the social
leaders of the city were content last
night to do homage to the Lambardi
opera singers from the vantage point
of parquet and boxes.
The fact that there was no chosen
display ground for diamonds and beau
tiful gowns may perhaps have had
some influence upon the costumes
chosen for the opening Of the opera
season, but enough women appeared
in full evening dress to mark the oe-
casion as one of prime social inn
portance.
Its musical Importance is undenia-
BILE. Grand opera is too rare in Los
Angeles to permit of any odious COM
parsons. Those who enjoy the bel
canto of the old Italian writer's or
who prefer the more dramatic and
thematic music of modern composers,
be they of French or italian school,
must take the goods the gods, and
local managers, provide. Since we
may not have the pleasure of listening
to singers whom eastern critics have
proclaimed good, we must be, for once.
our own judges and decide whether or
not our singers have artistic merit.
Signor Lambardi presented to the
Los Angeles public last night Verdis
opera "Rigoletto," with at least two
soloists whom even the most critical
listener must enjoy. Eugenio Battain,
in the role of the duke, quite fulfilled
all that his advance notices had prom
Used. His voice is limpid and COM
bines IN happy manner the graceful
and robust qualities in it's deliveries,
such a voice which would, of course,
appear to the greatest possible ad-
vantage in this beautiful music of
VerdPs. In the duet with Gilda in the
second act, the opening solo of the
first act and the imperishable "Dona e
mobile" he was deservedly encored.
Alessandro Modesti, who was proba-
bly, entitled to the honors Of the per-
Torrance, appeared in the title role.
This part is one which requires con-
summate dramatic powers as well as
a tireless voice. Modesti presented a
convincing assumption of the court
fool, which is both musically and
dramatically the transcending role of
the opera. Lyrically, he gave the
greatest pleasure to his listeners, with
a voice which is smooth, well con-
trolled and expressive. The tenderness
with which he sang the "Veglia
donna" and the tempestuous passion
in the finale of the third act, Isl ven
QeILd, IIGnCIlQd NGlAQCLLesg NS@S $1,000
terly examples of vocal art.
It must be confessed, however, that
Tamanti Zavaski is not an ideal Glda.
Her voice is high enough, and in the
extreme upper registers fairly brilliant,
but it is never flowing, and the caden-
zas and other decorations with which
this soprano role is so replete were
each performed little too painstaklng-
ly and with too much effort. Neither
&c sba o1sooetheT free from false in
donation.
Wulman, cast as Sparafucile, had
but little opportunity to display his
rare bass voice, and Renata Pezzau
was coquettish and pretty in the part
of Maddalene, while Artidoro Maucert
was efficient as Monterone. Pezattl's
contralto was a distinct acquisition to
the great quartet of the fourth act,
which was repeated in accordance with
the enthusiastic demand Of the audi
enee.
The voices in this were we'll blended,
and were ably supported by the aug
mented orchestra. The program gives
no hint of the name of the director,
but he evidently does not believe in
encores, for he managed one with such
extreme difficulty that singers and
listeners both experienced annoyance.
This was particularly noticeable after
the third act, when Modesti's magnifi-
cent and impassioned vocalization had
insured him we'll deserved encore,
yet the director left his stand and dis
appeared in the regions behind the
scenes, leaving the singers puzzled and
confused by his unceremonious de-
parture.
The audience greeted the entire pro-
duction with approval. and it may be
said with assurance that the season
opened in a manner satisfactory both
for singers and listeners.
The bill for tonight is "Il Trovatore,"
with Campoli, Dolores Frau, Scala
brini and Pimazzoni in the principal
roles