Evening star. [volume], August 06, 1948, Page A Back Page, Image 16

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
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Lyric Opera Makes Auspicious
Debut in 'La Traviata’
By Alice Eversman
The Lyric Opera Association be
gan its festival of opera at the
Water Gate last night before a large
but shivering audience with a pre
sentation of Verdi’s “La Traviata.’
The newly organized association,
which staged its first opera last
night, was to have made its debut
by way of "Aida’’ on Wednesday
but the storm of that day caused a
postponement of that performance
until tomorrow. The extreme drop
in temperature late yesterday, made
more pronounced by the high wind,
gave something of a wintery atmo
sphere to the Water Gate’ but in
spite of this discomfort, the debut
was auspicious and the audience
was in a welcoming mood.
In two ways, the stage manage
ment met the test of opera on the
Water Gate barge most successfully.
No pretense was made to provide
"La Traviata” with elaborate set
tings or even those which approxi
mated what would be done in a
theater. The scenery was confined
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i to the simpliest kind and so avoided
iany bizarre effect. Nor was the
stage cluttered with a large chorus
of doubtful scenic value, sufficient
and well dressed singers creating
just as much of an appearance of
opulence for the scenes where such
| is necessary.
inis was ail a pleasant surprise
and in spite of the fact that a rich
dressing up of an opera presenta
tion adds considerably to the enjoy
ment, more thought toward adapting
the stage of the barge to that end
would be necessary than this festi
val would warrant. The stage di
rector, Anthony Stivanello, put all
the necessary suggestions there to
visualize the scenes, even if one
had to accept the backdrop of Vio
letta's home for that of Flora's in
the third act. The costumes gave
plenty of color, which created a nice
effect against the wind-swept dark
sky.
i The performance itself, however,
often moved sluggishly although the
conductor, Pietro Cimara, tried to
reach certain nuances through the
I tempo he established and the time
ihe gave the singers toregister their
points at the right moment. It was
not a gay sounding orchestra he di
rected, its size being nor more than
sufficient and its volume, whether
amplified or not, small, especially
: wheh real orchestal background was
required.
The principal roles were taken by
experienced artists who got into
; their full stride in the second act.
Eva DeLuca, who sang the part of
Violetta, was a young and charming
figure in her elaborate costumes.
She has progressed greatly vocally
and histronically since she appeared
here last year with the Philadelphia
La Scala Opera as Nedda in “Pagli
acci.” Her voice is pure and flexible,
sweeter in quality in the lower range
and when used pianissimo, but car
rying something of an edge when
under pressure in the high notes.
She made no attempt at dazzling
vocal flights last night but sang the
"Ah, fors’ e lqi” aria with an easy
production that gained power on the
high tones. The scene with Germont
pere was one of the best for emo
tional projection and her acting
throughout had sincerity and free
dom. At the same time, she is not
yet able to convey the full seductive
ness and personality of the character.
rne most outstanding periormance
of the evening was given by Robert
Weede in the role of the father,
Germont. His is a rea\ operatic
voice, never Kuching its limits and
responsive to coloring for every
degree of sentiment. The poise and
' conviction of his acting were all part
of a greater experience that has
definitely caught the broader scale
of an operatic portrayal. The “Di
Provenza” aria was beautifully sung
and during this major scene for him,
his full-throated voice grew in lus
ciousness. For the role of Alfredo,
Thomas Hayward has a fine, mel
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4 good
low tenor, which he used with greater
freedom as the opera progressed.
He had nothing to contribute, how
ever, to the dramatic exposition of
the character, even when such a
scene as that with his father gave
him every' opportunity to loosen up.
The shorter roles were capably
fhled. Maria Pasca gave some dis
tinction to the part of Flora and
Charles Clemens as the Marquis
d’Obigny, Ralph Telasko as Baron
Douphol, John Rossi as Gaston, Dee
Sherman, the maid, and Victor Ta
tozzi as Dr. Grenville were equally
successful in giving credence to the
characters. The La Scala Ballet
with Bette Schmidt and Dorothee
Kayne aa soloist*, danced with ani
mation In the third act.' “Carmen"
will be produced tonight, with Bette
Dubro In the title role.
Deaths Reported
(From the D. C. Bureau el Vital Statistic*)
Michael Sheireliff. 83. Washington.
George W. King. 80, Silver Spring. Md.
Anna E. Olson. 73. Arlington. Va.
James R. Clausen. 71, 1440 R at. n.w.
Nannie A. Hundley. 67. 1429 Columbia
William E. Lear. 65. 1205 33rd at. n.w.
Emma von Toerne, 53. 1636 Kenyon at.
Paul*!.. William*. 36. 1439 Spring rd. n.w.
Dorsey O. Smith. 31. 218 9th at. n.e.
Ignor Mendes, 11. 1715 Varnum at. n.w.
i Geraldine Boreekl. 3. Arlineton. T».
Mary C. Plummer. 78. 2825 On. are. n.w.
I Oennla Bowie. 50. 480 Bidae at. n.w.
! Stephen Oreen. 45. 1314*4 Wallach »t.
i Hattie H. Lavender. 34. 2016 15th at. n.w.
Zeb Jegrlea, 29. 1506 Vermont are, n.w.
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