Evening star. [volume] (Washington, D.C.) 1854-1972, 1948-01-29
Pleasant Evening
Provided by Opera
Guild Singers
By Alice Eversmon

DeSplte laSt-mlnute QlmculJleS,
the Washington Opera Guild staged
the three operas by Puecini last
night In Lisner Auditorium as
scheduled. 1t was an suspicious
debut in grand opera by the three
casts which were said to have their
public experience in this line last
night. Due to the withdrawal OF
Van Lier Lanning, conductor of the
Arlington Civic Symphony, which
was to have supplied the orchestral
background, "n Tabarro" and
"Gianni Schicchi" were sung to
piano accompaniment, which was
augmented by q string group for
"Suor Angelica"
The operas were sung in English
but the singers enunciation was not
always clear enough to follow the
text thoroughly They were pre-
scented with minimum Of stage
setting but the disposition Of the
essentials and skillful lighting
created the desired effects and,
particularly in "Suor Angelica"
real sense of atmosphere. The per-
formances were smooth, the singers
sure of their parts, and If the acting
did not have professional polish, it
was never awkward. On the whole,
pleasurable evening was provided,
q great deal of talent made evident
and these once well-liked operas Of
Puccini heard for the first time here.
The music Of all three was a dis
appointment. 1t was full OF remini-
SCIENCES Of Puccini's greater operas
with the exception of "Gianni
Schichi," where more originality
prevailed. III Tabarro" drew on
LA Boheme" and "Tosca," while
"suor Angelica" was patterned after
Madame Butterfly" The shadows
OF the greater duets, quartets and
arias hung over these works with
disturbing effect. While an entirely
different style went into the FASH
ioning of "Gianni Schicchi," 1t in
no way compared to that which has
made the name of Puccini immor-
tai. But its comedy theme moves
along in the accepted italian man
ner.
Carroll NATION sang the role of
Giorgetta in III Tabarro" with fine
effect but Reno Pagin's Luigi sin
cerely acted, was less free vocally,
Elizabeth Fleet showed greater skill
vocally and in her acting of La Fru-
COLA, and Leonard Lloyd as Michele.
Lee Owens as II Talpa and Wolfe
MostoW as II Tinca, portrayed the
prominent roles well. Others in the
cast were William Miller as Vendi-
tore di Canzonette and, with Zoe
Calevas, portraying the Lovers, with
Ruth Fernstrom, Marie Louis Lamb,
Eileen Murphy, Claribel Pierson,
Beatrice Tender and Rose Thorman
as Midinettes.
The most finished dramatic per-
Torrance of the evening was that
OF Virginia Houghton as "Suor An
gelica." Although her voice is not
large, her portrayal stood out for the
conviction and histrionic ability she
brought to 1t. Her singing was I'm
ished and her high tones, having
more carrying power than the other
parts of her voice, sustained the
climaxes dramatically. The entire
cast acted their roles well and the
choral singing was pure-toned and
lovely. Those taking the parts of
the nuns were Anne Parsons, Flo
refine Hurley, Marie Louise Lamb,
Marie Paninek, Louise Bissell, Rose
Thorman, Marjorie Eaton, Juana
Aldea, Elizabeth Hurley, Media
Goldstein, Mary Anne Hanback,,
Beatrice Tender, Eileen Murphy,
Doris Curran and Mary Catherine
Cassidy. Layne Spicely was, the
Princess.
The fact that a string orchestra
was used in "Suor Angelica" added
considerably to the effect and the
Intermezzo was well played. The
lack of such support was felt in
"Gianni Schicchi" In spite of that,
the singers disclosed good voices
and threw themselves into the roles