Evening star. [volume] (Washington, D.C.) 1854-1972, 1958-04-15

~AAo "AAAAASAA A0os AA8AAe ~ Vic
Lisner Auditorium, where Mo-
zart's "Cosi Fan lutte" was
mounted in q production of
extraordinary brilliance.
In every respect. the last
Offering Of Washington's all
too-brief opera season proved
to be an utter delight, and
scarcely anyone could avoid the
electric thrill that comes with
the proper recreation Of q great
masterpiece.
This the opera society has
successfully achieved.
The OSW production is based
on q naive belief that Mozart
knew his business. and there
was no tinkering with the score.
Characters Develop
The result was q spacious
ness, q leisure. q time for the
characters to develop flesh
and-blood characteristics and
to cease being puppets. and q
revelation Of q dimension Of
savage eyniciSm IN Mozart too
frequently overlooked In the
uproariouSly funny moments Of
this biting commentary on the
frailty Of humanity.
Like all great works Of art,
"Cosi" throws q brilliant light
into certain dark recesses Of
the soul most Of us prefer to
keep in shadow. Behind the
laughs. there are the fears: be-
hind the search for sensation,
there is the never-ending quest
for love.
The score Of this opera Is an
apparently endless stream Of
solos and ensemble numbers
stitched together with recita-
tives. each Of which excels the
previous one in heavenly beauty
and In aendish difficulty. For
the current production. the
OSW has assembled one Of
the strongest casts Of young
singers ! have heard in WASH
ington. All are admira bl y
equipped vocally. all are his
ironically most effective. and
the women are unusually pleas.
ing to the male eye.
An on beat strength In the
casting was that Of mezzo.
soprano Mary McMurray in the
role Of Dorabella. generally the
sillier Of the two sisters. The
part is ordinarily thoroughly
overshadoEed by that Of Fiordi-
lgi. but Miss MeMurray's COM
manding stage presence, the
sweet, velvety power Of her
voice and her striking red hair
and physical beauty more often
than not made her the domi-
mating figure when she was on
stage. There Is Q warmth, lus-
trousness and glow to her sing
ing that made her solos the
vocal high spots Of the entire
opera.
Miss Willauer Scores
Marguerite Willauer. wen re-
membered here for her brilliant
success In the role Of the COM
poser in the OSW's previous
production, Strauss "Ariadne, :"
scored heavily with her won
derful first-act aria. Come
scoglio immoto resta." Fiordi-
liei, 1t VII be remembered. puts
up much more Of Q battle
against the wiles Of the crafty
Don Alfonso than does her
easier going sister, and reveals
her agonized soul-searching In
the second-act "Per> pieta. ben
milo, perdona," q piece Of
transcendental difnculty in
every respect. That she did not
achieve the level Of power and
flexibility here which she DEM
onstrated earlier did not de-
tract materially from her gen.
ersl excellence in this excruci-
atingly difncult part.
As the ight-hearted Despina,
accomplice Of Don Alfonso and
friend Of love. Sylvia Stahl-
man displayed the same won
derful dexterity Of voice and
silver edged purity Of tone
which has made her q great
favorite with Washington au-
diences since her initial ap-
pearance here In the flrst OSW
production Of THE Abduction, I"
in which she was 30 delicious
q Blonda. Her buffa talents
were admirably displayed in
her disguised appearances, first
as o doctor with an enormous
magnet, and then as q marry
ing notary.
OF the two officers who end
UP not knowing which Of the
charming ladies they really
prefer. John Reardon's por-
trayal Of Guglielmo was espe-
cialiy notable. This singers
fine baritone, well controlled
and exceptionally true In pitch,
was heard to excellent advan-
tage in the patter aria ''Donne
ME, Ia fate q tanH tamil"
Donald Gramms Don Alfonso
was q tower Of vocal strength
throughout the evening. His is
an extraordinarily rich and
powerful bass Of great fiexibil-
ity. and he uses II with a vir-
tuosity and an intelligence that
Is most impressive.
McCOIlum Tries
The usually dependable John
McCollum had his work cut out
for him last night with q num-
Der Of additional arias Of hair
raising dificulty. usually re-
moved by plying producers,
included in the second act. Mr..
Mefydl1ssv4a 1iA ne Ais.aan haeSt~xro