LA GIOCONDA – PONCHIELLI
Presented on Nov 21, 25; Dec 1 at the Gaiety Theatre Dublin as part of the Dublin Grand Opera Society’s Winter Season
May Devitt – Gioconda
Joseph McLaughlin – Enzo
Patricia Black – Laura
Michael O’Higgins – Barnaba
Nora Finn – Cieca
Richard Mason – Alvise
Commdt J M Doyle – Conductor
Sydney Russell – Producer
The choice of Ponchielli’s “La Gioconda” (“The Joyful Girl”) for the 1944 winter season was another reassuring example of the society’s determination to stage more spectacular operas. The action is set in Venice in the seventeenth century, with act one depicting the Ducal Palace; other scenes like the celebration in act three, demands visual grandeur. At this time the work was virtually unknown to Irish operagoers, though not a few of them would have been familiar with the orchestral version of the ballet music,”The Dance of the Hours” from act three. It has remained the composer’s most successful and popular opera, dramatically powerful and musically noteworthy. And it is strong in characterisation.
Casting the work was by no means an easy task. With James Johnston, engaged to sing the Duke of Mantua, Don Jose and Ottavio, Comdt. O’Kelly had no hesitation in casting Joseph McLaughlin with May Devitt singing La Gioconda. ‘I was prepared to tackle any new role as long as May was by my side,’ he told me later. ‘Anvway, sure I hadn’t let the side down with either Pinkerton or Rodolfo.’ Jimmy Brittain has always held the view that Comdt. O’Kelly demonstrated unusual courage in casting McLaughlin in big operatic parts, ignoring at the same time the obvious risks involved. ‘I. think he knew like all of us that “Big Joe” had the voice and that it was only a matter of coaching him properly and getting him to act.’ Like all of the society’s productions, it would be sung in English. The work had been premiered at La Scala in 1876 and was a resounding success, being described as ‘a typical example of popular grand opera’. The story revolves round La Gioconda, a ballad singer, who rejects the advances of Barnaba, a spy in the Venetian Council of Ten. In revenge he accuses her blind mother of witchcraft but the old woman is saved from the crowd by Enzo Grimaldo, a Genoese prince whom La Gioconda secretly loves. There was no reason why Irish operagoers would not fall under the opera’s spell; indeed, the booking was unusually brisk and the Gaiety was well filled for the first night. The critics were for the most part impressed by the production. ‘It’s an enormous success for the society,’ stated the Irish Times, and added that it was truly lavish and spectacular. ‘Typically Italian, the opera is full of flowing melodies with wonderful choral effects, while the ballet music is brilliant.’ May Devitt’s acting was described as ‘forccful’ and her singing as ‘luminous’. Patricia Black, as Laura, rose to splendid heights, shining in the big dramatic moments. As for Joseph McLaughlin, the Irish Press critic thought he had greatly improved on his Rodolfo and Pinkerton, though his acting was still wooden. His singing of the great aria, ” Heaven and Ocean”, was ‘highly artistic.’ Joseph O’Neill in the Irish Independent was less impressed. ‘The tenor role in “La Gioconda” abounds in graceful music,’ he observed, ‘but Joseph McLaughlin did not make the most of his opportunities as often his tone was muffled by varying methods of vocal production.’ Count John McCormack and his wife Lily were guests of honour on the occasion and occupied a box close to the stage. Afterwards, the tenor was accompanied on stage by Comdt. O’Kelly and proceeded to meet the chorus and principals. Joseph McLaughlin said later that he was rebuked by the tenor who had said to him, ‘As for you McLaughlin, grand opera is not your forte.’ When I talked to Comdt. J M Doyle later at his home, he said he had not heard the remark despite being close to the stage. ‘I remember seeing McCormack shake May Devitt’s hand as he congratulated her and I suppose he did make a fuss of her, as he was to do also in the case of Patricia Black – although McCormack could be blunt, I don’t believe he would deliberately snub a fellow artist. He might have said to Joe McLaughlin in a whisper to confine himself in future to operetta, songs and ballads. I would perhaps have said the same thing myself.’ McCormack, in spite of failing health, tried to attend the opera as often as possible as the society’s guest.
(Extracted from “Love and Music: The Glorious History of the Dublin Grand Opera Society” by Gus Smith, 1998)
Opera in Ireland 