Newspaper Page Text
THURSDAY, APRIL 27, 1916.
MELTZER DECLARES ‘LA SONNAMBULA’ IS A DRAB AFFAIR AT BEST
' . . '
Spanish Coloratura Sings in Bril
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liant Voice and Charms Audi
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5 ence With Melodies.
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“LA SONNAMBULA"
Opera in Three Acts and Four Scenes
Book by Felice Romani
(In Italian)
Music by Vincenzo Bellini
“ Count Rodolfo ....... Adamo Didur
Teresa ............... Flora Périni
Aming ‘.. ........, Maria Barrientos
Blyino .......... Giacomo Damacco
I oRI o Rdigh Mason
Alessio ............... Giulio Rossi
o Natory .........., Pietro Audisio
Conductor, Giorgio Polacco
Stage Manager, Jules Speck
! Chorus Master, Giulio Setti
Technical Director, Edward Siedle
e
Followed by ballet divertissements,
Rosina Galli, Premiere Danseuse ;
Giuseppe Bonfiglio, Premier Dan
seur, and Corps de Ballet.
Conductor, Alessandre Scuri.
By CHARLES HENRY MELTZER.
“La Sonnambula,” which was
performed last night at the Audi
torium, has worn less well than
the tragic “Norma” of Bellini,
When I heard it 3 few vears ago
in Italy, “Norma” surprised me by
its persistent power and fresh
ness.
Italian works much older than
“La Sonnambula” are still young.
One of the oldest, the “Orfeo” of
Monteverde, for example, seems
as enchanting now as it did three -
centuries ago, when it wag sung
in Venice, |
To be frank, Bellini's opera
rather bores one, though it is
studded with a few engaging arias ‘
and effective choruses. B |
largely padded with conventional
recitative—intoned dialogue, quite
valueless as music.Bo, to be sure,
are many other operas —among
-« them “The Barber of Seville,” an
admitted masterpiece.,
Dramatically, “La Sonnambula”
is more childish than even “L’Eli
sir d’Amore™ or “Un Ballo jn
s Maschera.” It is impossible to
treat the libretto seriously. The
proceedings of the villagers who
break into Count Rodolfo’'s bed
room so unceremontously and fret
their souls so strangely because
Amina has anticipated them, are
quite absurd and, of course, im
pertinent, .
The misfortunes of the heroine
do not move us. As for the hero,
Elvino, he inspires contempt for
doubting his sweetheart and for
saking her to make love to Lisa.
But in Bellini's day librettos
were often merely pretexts for
florid singing. And there are
songs in “La Sonnambula” which
still appeal to thousands of even
the most hardened operagoers,
Melodies Are Trivial,
The fact that you and I may
not be drawn to this example of
old opera as we were to “Lucia”
did not prevent the other fact
that many in the Auditorium au
dience liked “La Sonnambula.”
The frank melodies of the com
poser are somewhat trivial, But
v hundreds—perhaps thousands—in
the house last night approved
them ali and applauded warmly.
In the title role, Atlanta for the
second time enjoved the art and
entrancing tones of Mme. Bar
rientos, Again that charming
singer scored her points by the
refimement of her style, the skill
with which she managed a voice
put to fatiguing tests a day be
fore, and the bewildering ease
with which she sang the most
trying coloratura passages,
It was plain that Mme. Bar
rientos was saving herself up for
the part of Marta, in which she
will reappear tomorrcw night.
Only seldom during the perform- *
ance—which, if lezs brilliant than
it might have been, was nicely
balanced and entirely creditable—
did the Spanisih singer give one
the full measure of her powers.
She sang discreetly and with
faultless taste,
Shows Her Resources.
Her best chance came quite at
the close of the opera, in the
alr long popular throughout the
world as “Ah, non glunge.” In
that pleasing song she showed the
resources of her always gracious
art and won her audience, as she
had won her hearers in “Lucia”
by the loveliness of her tones, the
« delicacy of her shadings and the
fluency of her singing.
Mme. Barrientos is not a good
actress. She trusts entirely to her
exquisite voice and personality.
He gestures are not always
beautiful
A new lyric tenor, M. Damacco,
was introduced last night to At
lantans in the role of Eivino. Hia
rather palé, though tuneful, voice
made a favorable impression and
won him seven recalls after his
rendering of “Ah, perche non
, posso” (“Still so gentiy”) at the ‘
end of the second act |
The Rodolfo of M. Didur, the
Polish basso, seemed 100 porten
tous. M. Didur i& more content.
Ing in Mozart than he will ever
be in Bellinl
One of the most Interesting sea- ‘
tures of the perfomance was the
first appearance in this city of
Miss Edith Mason as Lisa, the
Jealous and love-sick rival of
Amina. She had only one real
opportunity of revealing her qual.
sty—in the cavatina at the be
ginning of the opera (“Tutto e
gioja”). Miss Mason has a warm
and flexible soprano, which has
heen well trained by no less a
teacher than Edmond Clement
Another attractive stranger in
the cast was Mme. Perinl, a mez.
ro-soprano, who appeare] in the
small part of Terosa
Maestro Polacco conducted with |
hi= habitual skill
The performance of “La Son.
nambula®™ was followed by a we
vies of brief dance divertisse.
ments, in which Miss Rosinag Gal
" the Metropolitan premisre
danteuse. agnin charmed the au
dionce by her unusual grace. .
FELLOW ARTISTS AS CARICATURED BY CARUSO
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Left to right, Jules Speck, the Metropolitan's stage manager'; Giuseppe de Luca, the great baritone, and Antonio Scotti, Atlanta fa vorite,
Story of Martha,
- Opera for Friday.
“MARTHA"
Lady Harriet (Martha), i
Maria Barrientos
Nancy ceggrrrreesens Flora Perini
IAOROL .. .oicisuisiss BNioD Caruso
Plunkett ......... Giuseppe de Luca
Tristan ........ Pompilio Malatesta
* Opera in Four Acta,
By Frederich von Flotow.
“Martha,” by Friedrich von Flo
tow, was another favorite of our
grandfathers, and the only werk
which survived its composer. It |
has been sung by great artists
and by amateurs in the warld's
capitals and in town halis, Its 1
airs are played on every hand or
gan, and its overture may be
heard in any movie theater. Yet
it has not been presented as a
whole in years. It has been con
sidered too “light” for the dig
nity of the Metropoiitan compsu
ny, but after its revival this sea
son its instant popularity-—noth
ing save “Carmen” has approach
ed it in public favor—proved that
even New York operagoers had
not forgotten their love for melo
dy.
The opera gives almost equal
opportunity to four leading sing
ers; SOpranc, tenor, mezzo-soprano
and baritone, and, indeed, the four
are singing together almost en
‘tirely through the decond act. No
other work so abounds in melo
dious quartet numbers, and there
are solos and duets fairly tread
ing upon one another's heels. The
chorus, too, is used to excellent
effect.
“Martha™ presents the rather
odd combination of Mn{ com
posed by a German, '“f, n Ital
ian, its characters Pnglish, and its
audience American. It is one of
the few operas, by the way, which
have been sung in English with
complete success.
The scene opens in the boudoir |
of Tady Honrlettlah afterward
Martha (soprano). e is grow
ing weary of a dull court life, and
her maid, Naney (mez2o), gussses
that love is the missing requisite,
They sing the duet, “Ah, Those
Tears,” and Sir Tristan (buffo
basso), Henriotta's cousin, and a
gay old dog, enters. The two
women tease him unmerecifully,
Behind the scenes is heard the
chorus of servant malds on their
way to the Richmond Fair, and
Henrietta Insists on drudn{ as a
peasant and joining them. Nancy
jovfully agrees, and even old
Tristram is persuaded to don a
farmer's garb and accompany
them, .
Scene I 1 shows the fair, where
svery yvear the farmers come to
choose their servants. The law
requires that one who has accept
ed a carh payment is bound for
A year. The scene is a gay one,
with a chorus of furmers and
servanta and market folk.
Lione' (tenor) and Plunkett
(baritone), two young farmers, in
search of housemalds, enter. Lio
nel is an orphan and Plunkett's
foster-brother. On his death bed
Lionel's father had given Plun
kett a ring. which, when troubls
should appear. must be given to
the Queen, They two sl the
duet, frequently used in rflnfclwl
musie, “Lost, Prosofibed, a
Friendless Pligrim.” descriptive
of Lionel's history and his dlacon
tent with his present lot. The
Sheriff begine the auction of
servanis, and the farmers bid
them in. There are swinging cho
ruses here for men's and women's
voices, and the scene is an un
usually nflumn one, ‘
Lady Henrietta, Nancy and Sir
Tristan, in their servant¥’ attire,
now anter and look about them
cutously, The two farmers take
immed ate fancy to them. Tristan
Is frightened away by a swarm of
girle who insist that he hire
them, and the masquerading pair
take advantage of hin absence to
open » flirtation with the young :
farmers, Plunkett timidly opens
negotiations for their sarvices,
and befoare they reaiizse the sxtent
As their prank they have accept.
od the carntal mones and s |
bound for the year The sct ends
in a quartet and chorus, and as
the curtain descends Lionel and
Plunket! lift their new servants
into a farm cart and drive away
with them.
The second act introduces but
the four principals, who have a
surprising series of quariets, It
is the interior of the farmhouse,
and the brothers are trying hard
to explain "to their frightened
maidservants their dew and un
accustomed duties,
The opening number is the
quartet, “This 1s Your Future
Dwelling,” ending in a remarka
bly beautiful passage. Lady Hen
rietta says her name is Martha,
and Nahcy chooses “Betsy" for
her masquerade. There is another
quartet, “I Am Surprised, As
tounded,” in which the masters
express their astonishment at
their servants” unwillingness to
work, and then the lesson in spin
ning is begun. This introduces
the famous - “Spinning Wheel”
quartet, in which the music close-
Iy imitates in rhythm the sound
of the whirring wheel, It is an air
that sticks in one’s memory. Nan
cy, rebellious, uprets her wheel
and runs away, leaving Lionel
and Martha,
It is here that the most famous
aria of the opera is heard. Lio
nel asks Martha to sing for him.
She takes from her bosom a flow -
er and sings “The Last Rose of
Summer.” This gem of the op
era is not Fiotow's, but an old
Irish air, to which words were set
by the poet Tom Moore. The
lalian words in the opera follow
rather closely the poem of the
Irish bard. When this sria has
closed Nancy and Plunkett re
turn and the “Good Nignt”
quartet is sung. The two giris
prepare, to retire when Sir Tris
tan appears at the window. They
slip away with him and return to
their castie,
The third act opens upon a
park in the forest. The Queen is
hunting, and the young farmers
have come to watch the hunt.
Plunkett sings the stirring drink
ing song in praise of English ale,
The stageful of villagers joins in
the chorus, and Nancy and her
companions, in hunting costume,
enter. Nancy sings heraria, “My
Heart Knows Not.” and Plunkett,
recognizing her, reproaches her
for running away, He is about to
seize her when the hunting girls
surround hér, and the scene is in
terrunted by lmtnnn of Lio
nel, half-mad m grief. Hea
sings a bhit of Martha's air, and
‘lwn begins the tenor number
hich is sung on avery concert
stage. “Like & Dream.™ or, as it
in better known, “ARh, 8o Fair; Ah,
' 8o RBright”
Sir Tristan and Henrietta en.
ter. and Lionel, recognizing his
lost love, accosis her. She cruel.
Iy pretends not to know him, and
there follow a denunciation by
Plunkett and a pathetic air by
Lionel, The latter draws the ring
from his Anger and asks that it
be given to the Queen, whose ap
proach is annaunced by trumopets.
The stene ends In wlflmt
finale, a bit of co musie
which has few rivala,
The Afth act reveals the farm
house amain, with Plunkett sing
ing his fine aria. “Oh, My Unhap
py Lionel” This scene and it
aria frequently are omittead or the
action transferrad to the elod;;
Get out of that habit and vets
this time for Frad M. Powers ‘o
Coroner
TR 'V
J BHIRTE PLEATED. ALL
STYLES a
’ ERpTITCHING Yo -
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fCOTING, YO .:
» Altman Plaiting and |
Hemstitohing Co. l
FHORE Main 14 I
Rot BN e
'l stn‘fl FilLte
IHE ATLANTA GEORGIAN
that Lionel is really the Kar! of
Derby. He still is brooding over
his lost love, and Lady Henrietta,
relenting, causes to be recon
structed the scene at the Rich
mond Fair. The farmers and serv
ants are reassembled, and Henyi
etta and Nancy, once more in
|Georgia Folk at
'Atlanta Hotels
| ANSLEY--Mrs. George E. Mitchell,
Athens; A. C. Shambliss, Rome; Mrs,
A. C. Shamblis, Rome; Mrs. Hugh Mil
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L. Levy, Macon; Mrs. J. E. Burns, Co
lumbus; rs. J. P. Kyle, Columbus;
Mr. and . James H. Thornton, Ma
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Lockell, Fort Oglethorpe; Mrs. C. M.
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A. L. Fowler, Madison; W. L. Ifitts,
Macon: G. H., Moore, Dahlonega: .
McLure, Dawsonville: W, I Twigge,
Augvsta: G, P. SBhingler, Jr., Oxford;
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son, F. Fosters, Athens,
Rich Banker Makes
Estate a Bird Home
(l{ lmg:ul News Service.)
GREENWIC"H, CONN., April 27
Commodore E. C. Benedict, million
aire banker, will convert his 100-acre
esiate here into a mode! bird sanc-
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New Yorß Told of
-uceess of Opera
The New Yark American today
publishes the following :
ATLANTA, GA, April 26.—De
spite the fact that she faced the
uniusual task of singing two ex
traordinarily heavy and difficult
roles in as many days, Marie Bar
rientos, the Metropolitan’s new
coloratura soprano, added to her
Atlanta triumph tonight when
she fairly thrilled a “tremendous
audience that -heard her “Amina”
in “La Sonnambula,” the old Bel
lini favorite,
The vast throng that filled the
Auditorium was a personal trib
ute to the singer. Before her ap
pearance in “Lucia” the seat sale
for “Sonnambula” had been the
lightest of the week. But she
swept the throng at the matinee
Tuesday, having to respond to no
less than twelve curtain calls aft
er the third act Mad Scene. And
immediately after the perform
ance there was a rush for seats
for her next performance.
She fully lived up to the audi
ence’s expectations. The florid
Bellini music was peculiarly -
adapted to her brilliant voice and
her hearers fairly shouted the.r
approval.
' Miss Mason Makes Debut.
Miss Edith Mason, they Young
American soprano, made her de
but tonight as Lisa and rivaled
Barrientos In popularity. Adamo
Didur also won a personal tri
umph. ‘
Following Tuesday night's gala
affair at the Pledmont Driving
Club, which Was very largely at
tended by the elite and fashion
able of Atlanta, society turned
out to an old-fashion Georgia
barbecue at noon Wednesday, given
in honor of the Metropolitan
stars. This affair took place at
beautiful Druid Hills Country
Club and was attended by over
# thousand from Atlanta and all
points throughout Georgla.
Tuesday night's brilliant re
ception at the Pledmont Driving
Club was a gorgeous event.
Among those emoflnlnlna‘wm
Dr. and Mrs. Charles nsen,
Their guests were Mr. and Mrs.
Morris Brandon, Mr. and Mrs.
Robert Maddox, Mr. and Mrs.
Cobb Caldwell, Mrs., Jerome B'm
mons, Jr., Mr. and Mrs. W, H. Ki
ser, Mr. and Mrs. Edward Inman,
La Boheme
The Libretto[[.a Boheme
of the Opera
La Boheme Extract .........$4.00
Extract, bulk, $2.00 oz.
2 9 Face Powder ... .$1.50
c SO .viisceons' TR
/ Eleven Stores in Atlanta
¥ ST S
Mr. and Mrs, John Grant, Mr. Jo
seph Brown Connally,
With Dr and Mrs. Westmore
land were Mr. and Mrs, L. H.
Beck and My, and Mrs, Willlam
R. Huntley and Mr. and Mrs, Mil
ton Dargan, '
Mr. and Mrs, Roy Collier enter.
tained for Mrs. Robert Neely, of
Augusta, Completing the party
were Captain Graham “lohnson
and Mr. Lee Harvey,
Mrs. Grant Hostess.
Mrs. Willlam D, Grant enter
tained delighttully ‘in honor of
Mr. and Mrs. Willlam Randolph
Hearst and their party from New
York, including Miss Fdna Good
rich, Miss Hazel Bliss and Mise
Virginia Ireland. Besides these
Mrs. Grant's Ruests inciuded
United States Judge and Mrs,
Hardee, United States Judge and
Mrs. Newman, AMr. Alexander
McDougal.
With Mr, and Mrs. Mell R, Wil
kinson were Mr. and Mrs, Charles
E. Sciple, Dr. and Mrs. Dunbar
Ray, Mr. and Mrs, Preston Ark
wright, Mr. and Mrs. Wilmer
Moore, Mr. and Mrs. E. B. Harris,
and Mr. and Mrs. Edward Mcßur
ney,
Otkers entertained were Mr,
anfl Mrs. Thornton Mayre, Mr,
and Mrs. H. 1. DeGive, Mr, and
Mrs. Dudley Cowles, Mr. Joseph
Brown Connally, Mr. and Mrs. J.
G. nohr?nn. Mr. and Mrs. Chaun
cey Smith, Mr. and Mrs. J. T.
Williams, Mr. and Mrs. Milton
Dargan, Jr, Mr and Mrs. Alex
C. King, Mr. and Mrs. E. ‘;’Du
rant, Mr. and Mrs. 8, C, rter,
Mr. and Mrs. H. B. Scott, Mr. and
Mre. Rucker MecCarty, Mr. and
Mre R. A. Smythe, Mr. and Mra. -
I. Z. Rosser, Jr, Mr. and Mrs. B
E. Dallis, Dr. J. G. Williams,
Wednesday night, following the
opera, soclety divided into a great
many small groups in the various
clubs and many private resi
dences. For the remainder of the
week the social calendar is filied
te overflowing.
Tell your friends to vote for Fred
M. Powers for Coroner,
¢ § Sy
Caruso Is Eager to~
Sing Haunting Airs
Of Puccini’s Opera
P, R .p '
By ENRICO CARUSO. v =
' : Like ‘‘Traviata,”” “‘Manon’’ and ‘' Romeo
! % et Juliette,”” Puccini’s opera, ‘‘La Boheme,’’
—— i deals with romance and youth. L 1
i The story of the lovers—there are four of
‘% = 4 them—told with such eloquence in ‘' La
- KL g " | DBoheme,”’ has the eternal charm which makes
NoA 3us love the picturesque ‘‘scenes’’ of Henri
(Ps . &y | Murger.
" e The world will never weary of such tales
i s*. as those of Rodolfo and poor Mimi, the
i #& B ' crisette. It will always smile at the whimsi-
D £ | calities of such sweethearts as Marcel (Mar
: L cello in the opera) and Musetta (the Fremeh
i Wil = Musette). wil
Pisasvsgssindll Has not the very mname of the "Latine:;g&
Quarter” an everlasting spell to all our ears? The ups and g
downs of artists, poets and, painters, in their strenuous days,™®
are dear to every heart. L
We singers, also, have lived through such ‘‘scenes’’ as
Murger speaks of in his graphic book. What misery have we
not had to bear before we won our first success! The faect
that Marcello was not an aspiring singer, but a painter, is a
mere detail. Besides, next in importance to Marcello and
Rodolfo with their lady loves, is there not Schaunard, the
musician, in the libretto? ot
You in the audience will look on with sympathy while
we shall sing to you in ‘‘La Boheme.”’ ‘
Not for the first—nor as I hope, last—time shall 1 sigh
and smile on Saturday night with Mimi, whom Rodolfo léved
and lost.
My dear friend Scotti, too, will doubtless feel at home in
the character of Marcello when he flirts and quarrels, as he .
does so well, with his sweetheart.
We hope to see your eyes grow moist and dim again when
Mimi dies. Poor, tender and unfortunate little Mimi. And we
shall try, at least, to make you laugh once more at the follies
of the ‘*Bohemians’’ in their attic.
In “La Boheme' Puccini ‘reached the perfection of his
delightful art. By most this opera is—and perhaps rightly—
regarded as the best, the most charming, he has yet produced.
At all events, he has rarely, if ever, invented more ex
quisite music than he made for the ‘‘ Racconto’ of Rodolfo in
the opening act of the opera: more haunting airs than that of
Musetta in the second act; or more wonderful quartets than
that sung in the act which follows, by the contrasted couples—
on one side the sentimental Rodolfo and Mimi, on the other the
vivacious Musetta and Mareello. .
In the past two weeks I have written a great deal in my
own way.
I have told you of many operas. Some of them you have.
heard. Some you have still to hear.
And now the time has come for me to stop my talks and g 0
back to the work I love so well. It has been a great delight to
me to see you all in Atlanta, so ardent and eager about musie,
and so appreciative,
With this brief chat, 1 will lay down my pen. The curtain
will soon rise on ‘‘La Bohme."”’
Till then, farewell. Or rather, let us say, A rivederei! 5
E tempo di eantare! 3
A lifetime of arduous
study qualifies Fred M.
Powers for Coroner.
L , . .
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The shoes are all high grade, and include a num
ber of our regular stock styles, also broken lots and
samples. ’
Original prices were $4.25, $5 and $6; the big
price saving is apparent.
The leathers are principally Patent Colt and Gun
Metal. @
M. Rich & Bros. Co.y
Main Floor. Shoe Department. i a
—~ATLANTA, GA.
—
Occasional changes in of
fice is good policy. Let Pow
ers be Coroner awhile. ;
3