Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1913-03-04


for hers and the dukes fault, Rigo-
letto is stricken with insenate grief.
Through this terrible gamut of emo.
tions Giovacchini writhes and shuffles
in fine piece of character work con-
sidered from purely dramatic stand
point. He is equipped with robust
baritone, and his singing does not suf-
fer at all in comparison with his act
ing. Each supplements the other,
and the combination stamps this man
as an operate artist of the highest
intelligence as well as natural equip
ment and training.
Nine Regina Vicarino sang her
way to 3 personal triumph early soon
after her first appearance on the
stage. The audience was prepared
for colorature soprano of note, but
not for the remarkably pure and bril-
liant tones of Vicarino, and her sue
cess was all the more emphatic. Her
soprano is a fine thread of silver,
spun at times thin as gossamer but
always she sings to the tone, not once
last night was off key and is as GER
tain OF her vocal attempts as master
workman of his tools One perform
ance. of course, does not prove the
finished operate artist, but Vicarino
is without question a celoratura Of
exceptional worth, not SNOWY, but de-
peneable and with voice that is of
steaGiness and sweetness cofnpar-
able to the attenuated notes of a
finely-played flute She reached E In
alt last night at the conclusion of an
aria
Giuseppe Agostini, the tenor who
sang the role of the Duke last night,
has comparatively little opportunity
to distinguish himself, Rigoletto east
ly oyershadowing all the other male
roles. The Duke sings number of
short solos and is in many ensembles,
duos and other concerted numbers,
but on the whole his one great chance
is in the last act, in the familiar ia
donna mobile Agostini sang this
with grace and considerable dramatic
flourish. He has lyric tenor of
good quality, but he appeared to hold
IL in reserve last night, fer although
encored La DONNA" he did not
essay the famous cadenza so WELL
known from Caruso's magnificent
performance. Agostini is a thorough
actor, however, with grateful free
dom from the constant striving for
high notes and operate embroidery
that some tenors seem to find neces-
sary in order to draw the attention of
the audience to their vocal feats,
Agostini is wiser than this.
Giovanni Martino's tremendous
bass was denied adequate opportunity
last night, TO the regret of the audi
ence, which got but taste of what
this man can do from his singing of
the role of Sparafucile, father of
Maddalena and the desperate who
Kills Gilda. Martino's further APP
pearances will be awaited with ex-
pectation, for he appears to be a
splendid Easso.
Flora Pineschi as Maddalena con-
tri5uted valuable bit of acting and
some good singing, and the rest of
the cast was quite up to the mark,
Emilio Pineschi as Monterone and G.
Reano as Ceprano, A. Sbrognoli as
Borsa, and the other characters were
in competent hands.
The chorus proved Unexpectedly
good, and lmpresario Lambardi's in
novation in turning over this import
ant operate function to an American
division displays good judgment, for
the choruses and ensembles are COM
Elementary in a large degree to the
soloists' work.
Orchestra Highly Capable.
Conductor Arturo Bowl and his OF
chestra we'll deserve TO share the
laurels of successful opening night
In fact, the orchestra carries of a
few laurels OF its own. The violin
section is splendidly handled, and the
wood-wind instruments are likewise
well played. In one respect improve
ment can be made. The orchestra
last night often overplayed the sing
ers, this fault being particularly no
ticeable during the singing of the
quartet in the last act, one of yerdfs
greatest pieces of musical compost
tion and The greatest number of the
opera. The drums were so heavy
that the Northumberland singing
parts were frequently driven into a
habble. This flaw in an
otherwise well-conducted orchestra
was doubtless due to the fact that the