Wiltshire Times

FRIDAY, MAY 23, 1980

Gondoliers A Treat From The Start

TUESDAY'S first-night audience at the Civic Hall clearly loved every minute of the Trowbridge Amateur Operatic Society’s performances of Gilbert and Sullivan’s "The Gondoliers"– and as the cast had visibly and audibly found their feet completely by the opening of the second act, those who attend the last two performances tonight (Friday) and tomorrow are in for an even bigger treat.

From the moment the curtain rose on the Venetian setting, gaily peopled with goldolieri and contadine in crisp, brightly coloured costumes with much effective use of clear primary colours, everything went with a swing, and never a hitch (though perhaps one or two musical hiccups in the earlier numbers) as the Gilbertian tale of the dual monarchs of Barataria (ex-gondoliers), their possible, probable three wives with a shadow of doubt, the seedy Spanish aristocrat who (as was a topical novelty in the 1880s) had floated himself as a limited company (nowadays he would no doubt have become Toro Estates Ltd), his daughter Casilda and her beloved footman-cum-drummer (who had ominously been brought up by the old woman to whom the infant king had been entrusted) – all that was unfolded, with helpful explanations and proddings by the Grand Inquisitor, through to the final transformation scene, general song and dance with cachuca, bolero etc., in a thoroughly enjoyable and praiseworthy way.

SETTINGS AND SINGERS

Costumes and settings were excellent, the chorus sang powerfully and with well-disciplined gusto, the principal characters were word perfect and adept at their "business", the lady soloists all sang effectively with the required range of tones and emotional colouring, and their words could be clearly heard, and the men also sang but not quite so effectively, and at times their words could not be caught – which is a slight flaw in a Gilbert and Sullivan opera, where the words are really meant to be heard. But that was something which improved as the performance went on and the singers were able to adjust their voices better to the hall.

An exception to this was Frank Martin as the Grand Inquisitor, who was nearly always clearly audible, except at one point where he unwisely was made to turn his back on the audience and peer through one of the arches.

PAIR OF LOVERS

Sticking my neck out, I would venture to praise also particularly the singing of Pat Davies as Tessa, Eunice Pettigrew as the Duchess of Plaza Toro, Glan Davies as Giuseppe, Juliette Baker as Casilda, and Terry Hall as Luiz. Seeing the opera for the first time for many years, I was struck by the fact that this central pair of lovers have such a relatively small singing part, with virtually only one love duet. Juliette and Terry sang it very well.

The other main parts, well acted and adequately sung, were taken by Jim Baggs (the Duke), Dennis Duro (Marco), Doreen Williams (Gianetta) and Sue Asplin (Inez, the ancient nurse).

The production was by Brian W. Cory, with Ronald W. Foxwell as musical director and Michael Oliver as orchestra leader; accompanist was Peggy Bevan, assisted by Megan Thirlaway, Edith Groom and Daphne Wood; scenery by Derek Self, Tom Gredington, David Pullin and James Fredericks.

Many others, both named and unnamed in the programme must have played their part in preparing and carrying to success this ambitious undertaking. All honour to them all, and may they keep up the good work and the high standard this new society is achieving as it follows in the footsteps of its predecessor of the 1920s and 1930s; of which may of us locals still have such happy memories!

MJL