Virgilio Lazzari, basso: Chicago Civic Opera Association

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VIRGILIO LAZZARI
BASSO
Chicago Civic Opera Association
Management HARRY CULBERTSON
5525 Blackstone Avenue
CHICAGO



VIRGILIO LAZZARI WINS TRIUMPH

Lazzari In Mefistofele
Praised by Devries
By Herman Devries


Last Saturday night's Mefistofele was a managerial vote of confidence for Virgilio Lazzari.  It has been said that a burden or responsibility is placed only upon the shoulder fitted to carry it—and Lazzari's task was one that might have caused any artist moments of anxiety for he was given the opportunity of singing Mefistofele, immediately after the performances of his illustrious colleague, Feodor Chaliapin.
Lazzari has made a remarkably fine record throughout his engagement with the Chicago Opera Company.  He has never been known to produce indifferent superficial or inartistic work.  He made a decided success with this difficult and complex role, and his talents, vocal and histrionic, sufficed to create a striking and interesting characterization.—

Chicago Evening American.



Lazzari Makes Debut

The Saturday evening bill was a repetition of Mefistofele, with Virgilio Lazzari in the title role.  It was a significant debut for Lazzari, who sang the music with great sonority, with fine command of vocal resource and who acted it with dramatic fidelity as to the character in the book of the opera.—
Daily News.



No More Beautiful Singing Has Ever Been Heard on the Auditorium Stage

There Is Probably No Basso Singer in America Who Is His Superior

By Paul R. Martin


That he is not only one of the greatest artists of the Chicago Civic Opera Company, but that there is probably no basso singing in America today who is his superior, was amply demonstrated by Virgilio Lazzari Saturday night, when he sang the title role in Boito's Mefistofele at the Auditorium.  In assuming this role Mr. Lazzari shouldered a tremendous burden, for Mefistofele to patrons of Chicago Civic Opera has come to mean Feodor Chaliapin and it was commonly supposed that Chaliapin is the one man in the world able to do justice to the part.
Mr. Lazzari has set this supposition at naught.  His voice was found to be far better suited to the part than is that of the giant Russian.  He displayed a musicianship which the present reviewer has always insisted is lacking in Chaliapin's art and he proved beyond all question of a doubt that he is a thoroughly schooled actor with an instinct for making the best of every situation and of giving life to this character in such a way that it becomes an intensely interesting study.
If there were those who, when it was announced that Virgilio Lazzari would sing the Boito name part, believed he would imitate Chaliapin, they were sadly mistaken.  There was nothing of imitation in Mr. Lazzari's performance and the work of the two artists is similar only when both adhere to the set traditions of the role.  Mr. Lazzari has sung this part time and again in the leading opera houses of Europe, of South America and Mexico.  He has his own ideas of interpretation and they are good.  One gets a somewhat different impression of his devil from that presented by Chaliapin, but it is no less vivid, no less sinister and convincing.
He follows tradition more closely, perhaps, than does his confrere of the Metropolitan, for it is well known that Chaliapin introduces many innovations into the part which are not warranted by the script.
Virgilio Lazzari is an actor of superb intelligence.  He achieves effects by subtle means and it is apparent that in making his Mefistofele what it is, he has given it long and careful consideration.  In addition to this, Mr. Lazzari is a singer far out of the ordinary.  The Boito music suits his voice perfectly and he does not find it necessary to take liberties with it to cover up any vocal short-comings.  He sings it as it was written, note for note, and no more beautiful singing has ever been heard on the Auditorium stage than that which this artist did Saturday night The prologue is something that will long be remembered and every one of the many arias allotted to this role was sung with a finesse and a musicianship that made his work a delight.
Those who read this column day by day will remember that it was only a short time ago this writer said that in Virgilio Lazzari the Chicago Civic Opera Company has an artist who should be given the opportunity to sing more of the outstanding parts which have been written for basso voice.  Certainly in view of the magnificent performance which Mr. Lazzari gave as the Cardinal in The Jewess and now as Mefistofele in Boito opus, there can remain no doubt as to his ability to handle any basso role that demands superb singing and acting.  Opera singers of his type do not grow on bushes and it is indeed gratifying that today, Virgilio Lazzari has been given opportunity to prove here in Chicago, his worth in roles in which he long ago established his reputation in other lands.—

Journal of Commerce.

Vocally He Was Superb



MEFISTOFELE
TESTS LAZZARI
Successor to Great Chaliapin Superb Vocally in First Performance.

Whether Mefistofele would retain its potency without the towering figure of Chaliapin was tested last night when Virgilio Lazzari assumed the role of the arch fiend.

It is a historical feat of audacity for any man to assume the parts which the great Russian has made so completely and entirely his own.  That Lazzari fared as well in the attempt as almost any one else would have done is saying much in his favor.



Vocally Superb.

Vocally he was superb.  The biting phrases of the Boito score brought to hearing the finest aspects of a voice that is always admirable.  In this respect he scored heavily.—
Chicago Herald and Examiner.


He sang with his fine and powerful voice which begs a handicap for no one…—
Chicago Daily Journal.





Virgilio Lazzari, Basso

Chicago Daily Post, July 9, 1931
—Mr. Lazzari was a joy.  Rich, solid tones for the foundation of the quartet and delightful comedy touches at the appropriate moment.  Could step from straight singing to a bit of playful persiflage without ever getting out of the picture.  A man at home on the stage and with a fine sense of the fitness of things.


Chicago Herald and Examiner, July 16, 1931
—Lazzari set the tempo of the drama with his great aria in the first act, as usual stopping the performance with the splendid of his tone, its richness, power and intensity.


Chicago Evening American, July 16, 1931
—Lazzari's Archibaldo was one of the undying classics of the lyric stage, something to be immortalized on the screen and on the disque.  At each hearing we discover new causes to admire this unforgettable creation.


Chicago Daily News, July 9, 1931
—The evening's honors in singing went to Mr. Lazzari, the adroit and wily bass, whose slightest touch in singing or in acting has the weight of a full and finished artistry.  His restraint is not more admirable for its force than for its judiciousness.  He never makes a false move, and consequently he dares attempt with security what others would assuredly try with disaster.


Chicago Herald and Examiner, August 3, 1931
—For once the critic need not be concerned with the vocal honors of the event.  The resourceful Lazzari contrived to annnex these along with his monopoly of the comedy by caricaturing the soprano's florid aria in the most remarkable exhibition of falsetto voice on record.  Not often does one witness such a display of the actor's talent for absurdity.
It is more than talent.  It is genius.  For Lazzari, one may be sure, sees himself with the eyes of the audience and knows the exact value of each daring exaggeration.
In any event, he was the star of the evening, a position which he achieves elsewhere in the reportoire in Montemezzi's famous masterpiece of modern Italian opera.  'The Love of Three Kings.'  What a range and what a contrast!  And who among the greatly talented company of artists who serve the American public on the lyric stage can match it?



Quincy, Ill.
—Lazzari was received with genuine enthusiasm.  His voice is delightful, so rich, so rarely tuneful, so resonant.  He is an artist to his finger tips.


Des Moines Register
—Mr. Lazzari, one of the finest bassos in the field of concert and opera in this country, was thoroughly enjoyed.  His big resonant voice he used with skill and with a fine sense for nuances and shadings.