13
MUSICAL COURIER
January 19, 1922
CHICAGO
HAILS
ITS
NEW
BARITONE
SEVILLE״
As FIGARO in “THE BARBER OF
At His Debut
December 29, 1921
Photo by A peda, N. Y.
SPANISH BARITONE TRIUMPHS IN DEBUT AS FIGARO IN “BARBER OF SEVILLE”
The evening’s Figaro, Vincente Ballaster, a Spanish baritone of large reputation, was new, not only to the cast, but to Chicago. He made it immediately evident in the “Largo al factotum” that he was quite as good as the word which had preceded him. He sang this early song of his so brilliantly, in fact, that consequent applause stopped the opera a full half minute.
A DEFT ACTOR
Ballaster is possessed of a voice of some size, high of placement, with a deal of roll and carry to it. In some of the “dry recitativ” in the first act he displayed a simply astonishing virtuosity of lightning like vocalization. His singing is facile and smooth, and betrays long and happy training in the Italian school.—Chicago Herald and Examiner.
BALLASTER A DISCOVERY
Vincente Ballaster, who sang Figaro, made a brilliant debut before a public to whom he was utterly unknown. From the first lusty, full ringed tone of his in the "Largo” in the wings, the wise heads, and even the tenderfoots in music must have known that they were again face to face with a “discovery.” Then, when he finished the aria in magnificent bravura style, the house rose at him, with a mighty storm of applause, establishing him. ipso facto, as one of the great artists of our troupe.—Chicago Evening American.
With Vincente Ballaster to sing and act the Figaro, we had an exemplary baritone in one of the famous opera roles. Youth, a voice of brilliance and quality, an easy grace and elegant manner were traits and accomplishments which made this young Spaniard’s debut one of the most important of the season, and his future appearances will be welcome indeed. He made a certain hit as the village factotum and deserved all the hearty applause which came to him.—The Daily News.
Ballaster has all the gifts of a great baritone, plenty of fine voice, skill enough in using it, grace, and authority of interpretation, and the personal dash necessary to a popular success. The part of the Barber is a greater test of a baritone’s fine qualities than of those which will sell out a house to lovers of gigantic singing.— Chicago Daily Journal.
Ballaster is an acquisition—Voice, Temperament and Art—the whole combination.—Chicago Evening Post.
Leaving Ballaster for the last, though with the hint that he is worthy to be classified among exalted companionship, he has youth, he has charm, he knows the value of his part of the stage picture, and he has the true, meaty and exuberant Italian voice. Also, he knows how to act.—Chicago Daily Tribune.
AGAIN—AS “RIGOLETTO”
Young Ballaster proved himself as great in tragedy in Rigoletto as he had previously proved himself great in comedy as Figaro. It was a notable thing to pick up the role in the final act, and then to make himself part of the performance. —Edward Moore in the Chicago Tribune.
This young man is a find. He sang the last act with such dramatic power and tonal beauty as emphasized his success on his first appearance.—Karleton Hackett in the Chicago Evening Post.
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