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

fer hers and the dukes fault, Rigo-
letto Is stricken with insenate grief.
Through this terrible gamut OF emo.
tons 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 personal triumph early soon
after her first appearance on the
sage. The audience was prepared
for a colorature soprano of note, but
not for the remarkably pure and bril-.
liant tones OF Yicarino, and her sue.
cess was all the more emphatic Her
soprano is q fine thread of silver,
spun at times thin as gossamer but
always she sings to the tone, not once
last nigh was of key and is as GER
tain OF her vocal attempts as master
! workman of his tools. One perform.
anee, Of course. does not prove the
| finished operate artist, but Vicarino
! is without question coloratilra of
exceptional worth, not snowy, but de-
pendable and with voice that is of
a steadiness and sweetness compar-
able to the attenuated Iotes of a
| finely-played flute. She reached E in
alt last night at the conclusion of an
| aria
Giuseppe Agos.ini, the tenor who
sang the role of the Duke last night,
has comparatively little opportunity
to distinguish himself, Rigoletto east
w overshadowing 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 Il a
donna mobile" Agostini sang this
with grace and considerable dramatic
flourish. He has lyric tenor of
good quality, but he appeared to hold
1t in reserve last night. for although
encored z la donna" he did not
essay the famous cadenZa so we'll.
| known from Caruso's magnificent
performance. Agostini is thorough
/ actor, however, with a grateful free
com 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 a taste of what
this man can do from his singing OF
the role of Sparafucile, father OF
/ Aaddalena and the desperate who
kills Gilda Martino's further ap-
! pearances will be awaited with ex.
pectation, for he appears to be a
splendid tasso.
Flora Pineschi as Maddalena con.
tributed a valuable bit of acting and
come good singing, and the rest of
the cast was quite up to the mark.
Emilio Pineschi as Monterone and G.
Reano as Ceprano, A. Sbrognoh as
Borsa, and the other characters were
In competent hands.
The chorus proved Unexpectedly
| good, and Impresario Lambardi's in
noyatipn in turning over this import
ant operate function to an American
division displays good Judgment, for
the choruses and ensembles are com.
Elementary in large degree to the
soloists' work.
Siofehestra Highly Capable.
Conductor Arturo Bowl and his or
chestra well 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 Leing particularly no
ticeable during the singing of the
quartet in the last act, one of Verdi's
greatest pieces of musical compost
ton and the greatest number of the
opera The drums were so heavy
that the ighly-charecterized singing
parts were frequently driven into a
meaningless babble. This flaw in an
otherwise wep-conducted orchestra
was doubtless due to the fact that the
volume of sound from the orchestra