Newspaper clipping taken from page 9 of the South Wales Echo titled 'National Chorus Excelled in this Nabucco' reporting on a production by the Welsh National Opera, Cardiff, 11 May 1967

Description

An article by A J Sicluna praising the Welsh National Opera Chorus.

"Welsh National Opera (WNO) was founded in 1943, by a small group of Cardiff-based musicians and music enthusiasts, with the aim of forming an amateur singing company that would utilise local talent and resources for staging grand operas...The Chorus, which had maintained an amateur status since its formation, achieved full professional status in 1973." (arcw.llgc.org.uk/anw/get_collection.php?coll_id=454&inst_id=1&term=Arts%20Council%20of%20Great%20Britain, accessed 8/5/17)

Transcription:

NATIONAL CHORUS EXCELLED IN THIS NABUCCO
By A J. SICLUNA

IF anything is synonymous with success and the Welsh National Opera it must be Verdi’s Biblical romp Nabucco.

Before the London critics heard Nabucco, the company was an interesting provincial experiment. The opera created a professional image which has increased in stature by leaps and bounds.

The Spring Cardiff season opened at the New Theatre last night with a new production of Nabucco-as striking a contrast to the old realisation as you are likely to find.

An affinity

On one performance alone, it is difficult to make up one's mind. I am anything but conservative and all for innovation, but there were times when I would have welcomed Nabucco in his old and rather fraying garb.

The great, glorious success last night was the chorus. From first to last it was in magnificent form, providing a fine inspired sound allied with thorough musicianship and faultless discipline.

Few, if any, professional choruses could have achieved what the Welsh National chorus achieved. They have a special affinity with Verdi and this performance was the epitome of that.

The voice of the evening was, as expected, that of Pauline Tinsley as Abigail. I doubt if anyone during this season reaches with apparent ease, the high E flat Miss Tinsley reached on more than one occasion. Dramatically, her performances carried conviction and impact.

Raimund Herinex, in the title role, settled down well after a rather dubious first act. With Clifford Grant as Zaccaria, we heard some of the richest singing of the opera.

Malcolm Williams is a singer whose voice has been regarded as too weak for such demanding roles as Ishmael. Last night he was at the height of his power, giving a superb and often moving performance. He is a product of the company's training school and a model one at that.

Marian Evans, Rhiannon Davies and Keith Erwen provided satisfying, if unspectacular performances.

Elizabeth Friendship’s set is the most sophisticated I've seen from her. It has more than a hint of that used in Don Giovanni - glittering symbolism. It lacks colour and the rake of the centrepiece verges on the dangerous, with a slope of one in four.

Brian Balkwill’s conducting was full of incisive rhythm and where necessary, the perfect element of florid lyricism. He was the architect of the musical success and from the city of Birmingham Symphony Orchestra, he drew out playing of a stylish character.

Michael Geliot’s production is an assured, interesting concept. He is certainly the most exciting, imaginative producer the company has. With all of this, what was needed was light, and please, colour.

TONIGHT: DON PASQUALE

From Microform, Local Studies, Cardiff Library.
Image created by The British Library Board.
Copyright: Media Wales.