IL TROVATORE
Leonora – Luisa Malagrida
Azucena – Miriam Pirazzlni
Manrico – Umberto Borso
Count di Luna – Giuseppe Forgione
Ferrando – Carlo Micalucci
Ines – Nan Murray
Conductor – ?
Producer – Dario Micheli
L’ELISIR D’AMORE
Adina – Renata Ongaro
Nemorino – Giuseppe Baratti
Belcore – Franco Miolli
Dulcamara – Vito di Taranto
Gianetta – Joyce Campbell
Conductor – Giuseppe Morelll
Producer – ?
“TAKING A LOOK AT PEOPLE – The Maestro who makes opera grand – By ALAN FRAME – The maestro spoke no English, was all arms, movement and voice. And the top floor of a building in Belfast’s High Street resounded to his enthusiasm.
Giuseppe Morelli fairly threw himself into Donizetti’s ‘L’Elisir d’Amore.’ His vigour and reputation and wit roused the amateurs from the Grand Opera Society of Northern Ireland into full chorus. He conducted them with great gusto. Then, just as suddenly as he had moved in, Maestro Morelli halted the singers, stood perfectly still, and in the grand Italian manner ordered — ‘a cuppa tea.’
He was deft, looked an Englishman, but dressed distinctly Italian. He smiled at mistakes, sung the principal’s parts, thumped the piano, stamped his feet, stopped the chorus, started the chorus — and if that isn’t creating the atmosphere of grand Grand Opera, nothing is!
He genuinely loves the Irish. ‘Multa simplatico.’ And then, thanks to a translator, said: ‘Your chorus is very very nice — enthusiastic. And I look forward to coming here now; ever since last year. The audience and public were marvellous then.”
Giuseppe Morelli is ranked among the premier conductors in his native country.
He was bom in Rome, and is in town to conduct in the Grand Opera Week, starting in the Opera House on May 3. He knows just about every sccore from A to Z. Recent conducting engagements have brought him to London, America, Japan, Holland, France and Luxembourg. Yesterday he arrived in Belfast. Three hours later he was in full swing.” [Belfast Newsletter, Wednesday, April 28, 1965; Page: 5]
“AN ORCHESTRA WORTHY OF THE STARS – The Grand Opera Society of Northern Ireland has combed the British Isles to gather an orchestra worthy of the famous singers who willpresent ‘Il Trovatore’ and ‘L’Elisir d’Amore’ in Belfast this week.
To the nucleus of players who are members of the City of Belfast Orchestra are added a bassoonist from the Scottish National Orchestra and another who is American, at present engaged in post-graduate studies at Queen’s, a principal cellist from the Festival Ballet Orchestra, two horn players from the Northern Sinfonia, a harpist who has studied under Maria Korchinska from Cardiff and a deuty leader from Dublin, who has been highly recommended by Professor Vanacek.
The leader is Alan Kimberley, lecturer in music at Queen’s University. Rehearsals under the conductor, Giuseppe Morelli, are going along ‘con amore.’
Some of the leading singers are already well known to Belfast audiences, but among the newcomers there are some very exciting voices – Carlo Micaluccl, bass; Luisa Malgrida, a soprano who has just returned from a successful season at the Metropolitan Opera House in New York, and Miriam Pirazzini, contralto.
The Grand Opera Society of Northern Ireland presents its week of opera in association with the Arts Council of Northern Ireland, but the Italian Government also has a hand in the matter.
By means of a subvention which helps to bring the star singers to Ireland from Italy, the Italian Government hopes that Irish people will so fall in love with opera that they will be induced to travel to Italy – and hear more.” [Belfast Newsletter, Monday, May 03, 1965]
“FAMOUS ITALIAN OPERA TENOR – Tenor Giuseppe Baratti will sing the part of Nemorino in ‘L’Elisir d’Amore’ during the Festival of Italian Opera which commences In Belfast on Monday.
Slgnor Baratti. who last year repeated his brilliant performance as Fenton In ‘Falstaff’ at London’s Covent Garden, has also sung at the Carnegie Hall In New York. He was warmly appraised by the Spanish critics for his performance as Don Ramiro in ‘La Cenerentola’ (‘Cinderella’) In Barcelona and has sung In most of the famous theatres in Italy. Although illness unfortunately prevents Linda Vajna from coming to Belfast to sing the part of Leonora in ‘Il Trovatore,’ local audiences will be fortunate enough to hear Lulsa Malagrida singing that role. Slgnorina Malagrida, who gave a memorable performance in the part of Leonora before Metropolitan Opera House audiences in New York last year has just come back from a return engagement this year.
The New York Times has written of her as ‘an emotional dramatic soprano with a rich full voice accompanied by a great sense of acting and rhythmic stage movement.’ She has also sung ‘Aida’ in Spain and ‘II Trovatore’ and ‘Aida’, In Philadelphia and Cincinnati.” [Belfast Newsletter, Saturday, May 01, 1965; Page: 5]
“Operatic treat in Belfast – By DONALD CAIRNS – By any standards last night’s presentation in Belfast by the Grand Opera Society or Northern Ireland of ‘II Trovatore’ was a resounding success.
A full house saw a production the general level of which was probably thte highest of the Society’s history, at any rate in the excellence of the solo singing.
Luisa Malagrida’s Leonora was a beautifully rounded whole, the rich, creamy voice particularly beguiling in its middle and lower ranges. Miriam Pirazzlni’s Azucena was full-blooded, full throated and consistently musical, as was Umberto Borso’s Manrico. His ‘Di quella pira’ was as thrilling a piece of all-or-nothing vocalism as I have heard. And there was a fine robust reading of Ferrando by the young bass Carlo Micalucci.
But Giuseppi Forgione’s Count, for me was the triumph of a triumphant evening. An artist of the highest stature this, a magnificent voice controlled by a cast-iron technique and guided by a superb musical intelligence. His beautifully shaped ‘II balen’ was quite beyond praise.
It Is a pleasure to record that Nan Murray as Ines was in no way overshadowed by the distinguished visitors; that the orchestra rose to the occasion, and that the chorus — some ragged time-keeping by the gentlemen apart — was alert and well drilled. The production by Dario Micheli was unobtrusively effective but marred by far too lengthy intervals.” [Belfast Newsletter, Tuesday, May 04, 1965; Page: 2]
“L’Elisir’s solos of the first order – By DONALD CAIRNS – Like Monday’s ‘II Trovatore,’ last night’s Grand Opera Society production of ‘L’Elisir d’Amore’ at the Opera House, Belfast, was distinguished by solo singing of the first order. Renata Ongaro’s radiant tone, agile coloratura and attractive stage personality made Adlna — often no more than a cardboard figure — a convincingly real and appealing character. Vito di Taranto brought every device in a comprehensive repertoire to the buffa part of the itinerant medico and made us rather like the rogue as well as laugh at him.
As the peasant hero, Giuseppe Baratti was quite outstanding. His beautiful lyric tenor was skilfully deployed through a succession of solo and concerted items with ‘Una furtlva’ (of course) as the climax. Was the treacle laid on the famous aria a little too thickly? Perhans. But it was so beguilingly done that one easily forgot and forgave. the occasional hint of over-sweetness. Franco Miolli’s sergeant was finely acted if the actual tonal quality was a little dry. And Joyce Campbell sang Glanetta’s music very pleasantly.
The chorus was more lively and acted more quickly than in some previous productions, though I could have wished for more vigour In their singing. Giuseppe Morelll, the conductor, showed himself to be an idiomatic interpreter of Donizetti’s score, and the production moved quickly except during the intervals which were again prolonged beyond the limit of ordinary patience.” [Belfast Newsletter, Wednesday, May 05, 1965; Page: 7]
“Bouquet – SIR, May I, through the medium of your paper, express my appreciation to the Grand Opera Society of Northern Ireland for presenting us with such a wonderful week of Italian opera.
This has been the most successful season yet of Italian Opera, and I hope the Grand Opera Society will long continue to give us such high standards of singing and acting. —Yours, &c. MARGARET E. HAMILTON 222 Roden Street, Belfast” [Belfast Newsletter, Wednesday, May 12, 1965; Page: 4]
“Opera festival was a winner – Music by Donald Cairns – The productions of ‘Il Trovatore’ and ‘L’Elisir d’Amore’ at last week’s festival of Italian opera put on by the Grand Opera Society of Northern Ireland have earned high praise in all quarters.
Rightly so for, minor reservations apart, the consistent excellence throughout the casts and over the two works has been such as to set a new standard for the Society. Individual performances of outstanding merit we remember in previous years; particular works also. But never such a well maintained level over-all.
In this hard world virtue is too often left to look after its own rewards. But this time the Society pulled in audiences every evening as near to capacity as makes no matter. The full houses must have gladdened the hearts of the unbelievably hard-working local administration under the chairmanship of Mr. John Patterson, than whom no one has laboured more devotedly to bring high-quality Italian Dpera to the Province.
The Arts Council, striving to achieve a just proportion in the distribution of lts limited resources, must surely feel it has received a vote of confidence from the public in the matter of its support for this particular venture. Which, regrettably but inevitably, brings us to the sordid question of hard cash.
In spite of all the publicity about the rising costs of artlstic enterprise I wonder how many members of those huge audiences realised (or cared?) that the prices they paid for their seats represent at the very most one quarter of the total outlay and probably considerably less. (I am guessing now but shall be very surprised Indeed if I am far out).
And has it really sunk In, acknowledgments in the programme notwithstanding, that the Society simply could not now consider mounting productions of this standard without the very substantial grant from the Italian Government?
Well, there you are. In spite or the crowds, in spite of the toil of the local enthusiasts — including, don’t forget, the chorus members — In spite of the Arts Council’s aid and some limited help from other sources, we in Northern Ireland who enjoy romantic opera if it’s done well enough owe our satisfactions to the beneficence of another country.
Gratitude should not blind us to the stubborn fact that this is not a very dignified situation. Ulster has a traditlon and a reputation for a certain sturdy independence of spirit and outlook. We like to stand on our own two feet and we don’t like charity.
No doubt the Italian Government feels (quite rightly, of course) that its policy In this field is serving its own finest artists as well as the ’cause’ of opera abroad. It’s good for them as it’s good for us, that their best singers should be heard here. Every expansion of the public for Italy’s most famous export is to be welcomed.
It would be nice, wouldn’t it, to be able to engage such fine artists as these entirely on our own responsibility? It’s a question. And there’s the larger question — is it worth it?
That redoubtable controversialist and skilled journalist Miss Margharita Laski has recently been flying a kite apropos the whole matter of public support for the arts with special reference to the education of th« young. she makes some uncomfortable points which I hope to consider in a future article.
In the meantime saluUtlons to our guests from Italy and enlightened administration which made their coming possible.” [Belfast Newsletter, Wednesday, May 12, 1965; Page: 4]
“UTV offer of £1,000 for opera – The season of Grand Opera presented annually in Belfast by the Grand Opera Society of Northern Ireland has been saved for this year by Ulster Television with the offer of a £1,000 deficiency guarantee.
Only a week ago the season was under threat of cancellation following the Italian Government’s withdrawal of its substantial financial support from such events.
The withdrawal of the subsidy, which applied to all Italian opera abroad, produced a serious crisis for the local society. With only a few weeks in hand, the society issued an urgent appeal to national and local concerns to save their festival of Italian opera. When the outlook was bleak, with apparently no help in sight, Ulster Television, Limited came forward with an offer guaranteeing the season against loss to the extent of £1,000. Commenting on the offer, Mr. John Patterson, chairman of the society, says: ‘Without this help there would be no Italian Opera Festival this year. Not only would the public have been disappointed, but the loyal work of the society’s chorus throughout the winter in preparing the operas in Italian would have been, in vain. I cannot express how much we appreciate the company’s. help. It is evidence, if such were needed, of the practical way in which Independent Television cares for the serious arts.’
As a result of the offer the whole operatic effort has been able to commence again. Odeon Ltd. has allowed the society to move forward its theatre booking to the week commencing May 16. The chorus is back rehearsing, the Italian principals, who were to have come at the end of April, have confirmed the new dates as suitable to them and the orchestra is being recruited.
The opera week will be held in the Opera House, Belfast, commencing May 16, and the two works presented on alternative nights will be “The Barber of Seville” and “Lucia di Lammermoor.” Booking at the theatre will open on May 2 and the season will be presented in association with Ulster Television Limited and the Arts Council of Northern Ireland. [Belfast Newsletter, Thursday, April 07, 1966; Page: 11]
“Where there’s a will – By Donald Cairns – The very large following which the Grand Opera Society of Northern Ireland has won over the years must have heaved a concerted sigh or relief when it became known that this year’s season, rumoured to be in danger, would in fact take place.
Finance was the root of the trouble, of course. The Italian Government’s decision, made towards the end of March, that no subsidy for opera in foreign conntries would be available was a serious blow. The production costs of opera being what they are it seemed at one stage that Belfast would have to forgo its Italian performances altogether.
But Ulster Television and the Stuyvesant Foundation to whom music lovers in the Province already owe much came to the rescue with generous aid, the Arts Council rallied round with an increase in its normal subvention, and the Society’s committee felt justified in going ahead with a one-week season beginning on May 18. Naturally modifications had to be made. The proposed three performances of ‘The Force of Destiny’ will not now be given but ‘The Barber of Seville’ (Monday, Wednesday, Friday) and ‘Lucia di Lammermoor’ (Tuesday, Thursday, Saturday) go on as planned. We have the committee’s assurance that no economies of an artistic kind were even considered and the announced casts prove it.
Singers who have already established themselves as favourites here include Renata Ongaro and Vito de Taranto (Rosina and Dr. Bartolo in ‘The Barber’) and Giuseppe Forgione and Angelo Marchiandi (Ashton and Edgar in ‘Lucia’). Among the newcomers are Anna Maccianti, a young soprano already well established in Europe and elsewhere, who will sing the name part in the Donizetti; Marco Stecchi, whose Figaro is very familiar to Continental audiences since he has sung the part more than 100 times; and Plinio Clabassi, one of Italy’s best known basses, as Don Basilio. The conductors will be Vittorio Machi and Tonino Pardo.
Inevitably the emergency measures carry some disadvantages. Some prices have had to go up. And the necessary alteration of dates means that the Tuesday evening performance clashes with the visit to Belfast of the world’s finest (one Is tempted to write ‘original’) guitarist, Segovia (Ulster Hall, 8 p.m.). Nevertheless the main point has been won and booking has actually begun. If space allowed a moral could be drawn. Something along the lines of where there’s a will there’s a way. Certainly a good many people in Ireland and in Italy have united enthusiastically to find the way.
The last-minute changing of dates alone Is no light matter for singers in demand, for theatre managements, for busy orchestral players and harassed impresarios and run-off-their feet committee members.” [Belfast Newsletter, Tuesday, May 03, 1966; Page: 4]
Opera in Ireland 