Evening star. [volume] (Washington, D.C.) 1854-1972, 1940-10-29

found in grand opera. The fun
that lies in every phrase of the
patterlike recitatives could be ap-
preciated, although sung in Ital-
ian, by the skillful acting of each
member of the company. 1t was
a most successful performance
amusing, convincing and not over
done.
The role of Rosina served to in
troduce an exceptional singer in
the person of Hide Reggiani. She
has the type of coloratura the
world has been waiting for since
it was deprived of those artists of
unforgettable endowment. Her most
astounding featS are performed in
the highest register which, con-
trary to the ordinary run OF voices
of this character. keeps its round
ness and purity of quality. 1t is
customary to compare coloratura
singing to the song of birds and
in Miss Pepgiani's ease il Is a
perfectly lust COMPARISON. for she
has not ONLY the high. clear tones
of a bird but its sweetness as well.
An EffortlesS Performance.
Her singing of the Una voce
POGO IA" the lesson scene and other
portions of the opera were given
with ease and charm and the tech
nically difficult passages were
tossed off without the slightest eff
fort. However, through it all, there
was the unmistakable polish and
finesse of an artist of experience.
She put individuality also in her
acting, fitting the character OF
Rosina into the general farclcal at
moSphere with just the right touch.
AS the barber, Carlos Ramirez
departed somewhat from the ira
ditional conception which was quite
in keeping with his youth. BY
far the youngest-appearing Figaro
seen in some time, he played the
part with a gay impudence that
was most refreshing. His voice
is a fine one, rich and sonorouS and
dominating in the ensembles. The
famous Largo al factotum" did
not come forth with as much
smoothness as other famous in
terpreters have been able to achieve
nor did Mr.. Ramirez take full ad-
vantage of its opportunities in the
histrionic line. With this cruel bit
of music which introduces Figaro
in the opera, past, the South Amer
lean singer let himself go and ably
added his bit of fun to the re-
manning scenes.
That fine and routined artist,
Armand Tokatyan, acquired fresh
laurels with his portrayal of Count
Almaviva, whose willingness to go
to any length to meet Roslna and
his keen sense of humor form some
of the choice scenes in the opera.
The bass voice of John Quincy IS
superb and in the role of Don
Basilio he had ample occasion to
show its full dimensions He is a
clever actor and managed to evoke
the laughter that is applause at his
first appearance. His singing OF the
"Calumny Song" was one of the
high spots of the performance.
Malatesta as Don Bartolo.
1t would be difficult to imagine a
performance of THE Barber" with
out Pompilio Malatesta as Don Bar
tolo. Without his mincing steps, his
ouavering voice, his elegant cos
tune dominated by a large red
handkerchief, the keystone of the
opera would be missing. BY the
superlative fnesSe with which he
etches the role, he sets standard
for his co-artists. Completing this
cast of all-around excellence were
Georgia Graves, whose rich con-
tralto made much of Bertha's aria
in the second act; Brooks Dunbar
as Fiorello and Earl Wrightson as an
officer.
The only flaw in the performance
was the small orchestra, which must
have been almost inaudible at times
to the singers on the stage. Directed
by Giuseppe Bamboschek, who was
a most watchful conductor, it did
as well as could be expected under
the circumstances after the over
ture which showed up its deficiency
of volume and was further ineffec-
tive through the slow tempo at