DON GIOVANNI - 1972
 
 
Barbara se eerste groot opera optrede vir TRUK was in die rol van Zerlina in Mozart se opera Don Giovanni. Die produksie is in Engels opgevoer met 9 opvoerings wat op 22 Julie 1972 in die Aula in Pretoria geopen het. Die produksie het later geskuif na die Johannesburgse Stadskouburg op 5 Augustus 1972. Terselfdertyd is Verdi se opera Rigoletto in die Johannesburgse Stadskouburg opgevoer.
 
Die rolverdeling van die hoofkarakters was soos volg:
 
Don Giovanni - Lawrence Folley
Leporello - Harold Blackburn
Donna Anna - Nellie du Toit
Don Ottavio - Alberto Remedios
Donna Elvira - Ilse Lotz
Zerlina - Barbara Veenemans
Masetto - Rudi Neitz
Dirigent - Leo Quayle
Regisseur - Leonard Schach
Ontwerpe - John Stefenellis
 
Johan Liebenberg se resensie in Die Vaderland op 7 Augustus 1972 onder die opskrif, DON GIOVANNI 'N TRIOMF VIR TRUK, vertel die volgende:
 
"... Hierdie opvoering van dié Mozart-opera is 'n triomf vir TRUK. Al die bestanddele van opera - sang, drama, musiek, dekor, kostuums en regie - is hier briljant saamgevat om die aanbieding uiters suksesvol en genotvol te maak ... Nellie du Toit as die kil Donna Anna, Alberto Remedios as die getroue Don Ottavio, Barbara Veenemans as die naïewe Zerlina, Harold Blackburn as die komiese Leporello en veral Lawrence Folley as die wellustige Don Giovanni verdien spesiale vermelding ... Bravo TRUK vir hierdie opvoering wat wêreldklas is!"
 
Hennie Joubert, die resensent van Die Hoofstad skryf op 24 Julie 1972 onder die opskrif, DON GIOVANNI IS 'N TRIOMF VIR NELLIE, die volgende:
 
"... Barbara Veenemans was 'n sjarmante Zerlina, en genoeg aardlangs om 'n goeie kontras met die adellikes te vorm. 'n Mooi stem sonder veel nuanse, het haar bydraes altyd welklinkend op die oor laat val. Batti, Batti het mooi daarvan af gekom, net soos ook haar duo La ci darem la mano saam met Don Giovanni …"
 
The Pretoria News se resensent Phylis Konya het die volgende onder die opskrif DON'S HONOURS ARE EVEN, op 24 Julie 1972 geskryf:
 
"... Barbara Veenemans [was] a provocative and lively Zerlina … Barbara Veenemans brought a delightful simplicity and directness to her You are Jealous and her amusing cries of Beat Me, Beat Me, when weeding her stupid but honest lover Masetto, sung with amusing solidity by bass Rudi Neitz …"
 
Dan was daar nog meer gunstige resensies deur Die Transvaler op 24 Julie 1972 geskryf deur Z.F. met die opskrif OPERA-OORSIG:
PROTTI OORHEERS IN TRUK SE RIGOLETTO
 
"… As paar het Barbara Veenemans (Zerlina) en Rudi Neitz (Masetto) uitgeblink met goeie sang en spel. Ek het veral baie gehou van Mej Veenemans se aanbieding van die moeilike aria Slaan my Masetto…"
 
Phillipa Breytenbach van Die Transvaler skryf in haar resensie onder die opskrif RIGOLETTO GOED IN GOUDSTAD, op 7 Augustus 1972 die volgende:
 
"... Barbara Veenemans (Zerlina) en Rudi Neitz (Masetto) het uitgeblink met goeie sang en spel ... Die verrassing van die aand was ongetwyfeld Barbara Veenemans wie se guitige Zerlina, vokaal nie net een van die beste was nie, maar ook haar spel ..."
 
John Davies van The Star op 7 Augustus 1972 skryf die volgende resensie onder die opskrif LAWRENCE FOLLEY WAS A LIKEABLE CAD
 
"… Zerlina is a strong character role, and Barbara Veenemans as a simple peasant girl provided a welcome surprise. Her part is actually as important as both the Donnas and she made the most of it …"
 
Joe Sack van die Rand Daily Mail skryf op 7 Augustus 1972 onder die opskrif: THIS IS MOZART'S CLOWNING GLORY
 
"… Zerlina was sung by Barbara Veenemans with an excellent feeling for the character of the peasant bride who is suddenly swept off her feet by Don Giovanni's attentions, and Masetto, her groom, had in Rudi Neitz's reading not only the correct bucolic gaucheness but also some excellent singing and some colourful clowning …"
 
In die Sunday Express op 13 Augustus 1972 skryf Douglas Reid sy resensie onder opskrif EXCELLENT CONTRAST IN VERDI AND MOZART
 
" … Nellie du Toit, Ilse Lotz, and Barbara Veenemans as Donna Anna, Donna Elvira and Zerlina respectively, all maintained a high standard of performance. I particularly liked Barbara Veenemans's characterisation as Zerlina, the young country girl who, when courted by a nobleman, even on her wedding day, was flattered and thrown into confusion. A notable feature of the performance, which was sung in English, was the absolute clarity of the diction of all the artists. What a pleasure it was to listen to! The skeletal sets, designed by John Stefanellis were excellent and served their purpose magnificently. They suggested the scene settings sufficiently to aid both actors and audience visually, allowed plenty of space for the action to take place, were economical and cut down on time in scene changing. More care should be taken to change sets quietly."
 
Bill Brewer van die Sunday Times skryf op 13 Augustus 1972 onder die opskrif OUTSTANDING EVENING OF GREAT OPERA
 
"This bright, sunny production has lilt and laughter as well as fine ensemble work in the singing of Mozart's intricate musical mosaic. There is a satisfying flow because of the Sean Kenney-like ambulatory, which transforms itself before your eyes, and there is plenty of skilful, even outstanding, acting. All in all, this is an outstanding production of a great opera. The entire team must be congratulated … I liked Barbara Veenemans's Zerlina, buxom, warm, suitably flirtatious, with a voice sparkling as crystal. Her duet with the Don was one of the highlights …"

 

 

 

 

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