Evening star. [volume] (Washington, D.C.) 1854-1972, 1956-08-26

we'll ne SdlQ at once InaC unlS
opera is not entirely suited to
the small stage; the scope of
the action is too great. The
choruses, though they were
kept numerically small, looked
huddled, and even the prin-
cipals lacked the space they
needed at times. "Zauberflote"
is a busy opera and when the
detail becomes almost super
imposed, as it was here, it is
a little confusing. Designer
Oliver Messel's ingenious use
of high steps in the choral
scenes to augment the work.
ing space partly solved the
problem.
His sets, about 18th CEN
tury, were as handsome as
possible. especially the first
scene forest (tapestry-like
trees. and, for once. a visible
dragon) and the yellow rotun-
da for Pamina's chamber. Use
of a gauze curtain with cloud
effects projected onto it from
behind made possible rapid
scene-shifting with no halts.
Mattiwilda DObbs Scores
Americas Mattiwilda Dobbs.
appearing in an ambulant
crystal chandelier and herself
costumed in magnificent en-
broidered green velvet, was a
highly successful Queen of the
Night. She sang the first aria
a little carefully, but let go in
the second with all the colora-
tura callisthenics produced
clean and absolutely true; only
once or twice a shade behind
conductor Cuts imperious
beat.
Geraint Evans, a Welsh
man, was the favourite of the
audience His voice was not
exceptional but he gave
Papageno all the human, comic
foibles so necessary to the
plot. Ernst Haeflinger, a
young Swiss tenor, sang Tamino
with excellent effect, his tend
ency to extreme solemnity
tightening toward the end.
With a little more experience
he should be a welcome addi-
ton to the available Tamino
supply.
A beautiful Spaniard, Pillar
Lorengar, could not summon
quite the necessary volume for
Pamina at all times, but her
voice was true and pleasant.
The secondary parts (three
ladies, three youths, the
priests. the armed mem all
were well-sung. The chorus,
largely Welsh, had a fine rich
quality.
The only disappointing voice
in the cast was that of Drago
Bernardo. who sang Sarastro.
He was obviously suffering
from a throat ailment, but the
part is so important to the
whole scheme-the polarity
between the good priest and
the evil Queen of the Night
that one felt he should have
been replaced.
Vittorio Cuts disciplined di-
recting of the Royal Philhar
monte resulted in excellent
ensemble, in which the wood
winds stood out-perhaps due
to the somewhat over-clean
acoustics of the house. (There
is almost no resonance.) Cuts
tempt might seem deliberate
to us. particularly in the Sec
ond act. The stage direction
showed the greatest magma
ton: ensembles operated
smoothly, and the singers were
moved skillfully around. This
is a Glyndebourne speciality
and the work Of a young wom-
an. June cambridge.
"COSi Fan lutte"
The Glyndebourne produce
ton Of "Cosi fan lutte" is one
Of its best. Polished to smooth
ness by almost constant inclu-
sion in the repertoire It
nevertheless gets frequent
overhauling in matters Of cast
ing. direction and setting. This
summers cast was an ideal
ensemble with the vocal honors
almost equally divided. Ivan
Sardis gruff. rather pungent
voice gave an interesting tinge
to Don Alfonso's philosophic
musings. Sesto Bruscantini
tGWglielmol and Juan Oncina
(Ferrando) we're a we'll
matched and contrasted pair
vocally. Bruscantinis natu-
rally rich voice has profited
this year by an increased Vi
4 tally in its projection. Oncina,
a recent Glyndebourne success,