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THURSDAY, APRIL 27, Im6
MELTZER DECLARES ‘LA SONNAMBULA’ IS A DRAB AFFAIR AT BEST.
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Spanish Coloratura Sings in Bril
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liant Voice and Charms Audi
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. ence With Melodies.
“LA SONNAMBULA" l
Opera in Three Acts and Four Scenes
Book by Felice Romani
(In Italian)
Music by Vincenzo Bellini
Count Rodolfo ....... Adamo Didur
feresa ............... Flora_Perigi
dmina ........... Maria Barrientos
Elvino .......... Giacomo Damacco
BARG ivisisivseiasi.. Hdith Mason
Alesslo ............... Giulio Rossi
A Notary ........... Pietro Audisio
Conductor, Giorgio Polacco
Stage Manager, Jules Speck
Chorus Master, Giulio Setti
Technical Director, Edward Siedle
Followed by ballet divertissements,
Rosina Galli, Premiere Dansecuse;
. Giuseppe Bonfiglic, 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 a few years 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
« 2s enchanting now as it did three
centuries’ ago, when it was sung
in Venice,
To be frank, Bellini's opera
rather bores one, though it is
studded with g 4 few engaging arias
and effective choruses, B '
largely padded with conventional
recitative—intoned dialogue, quite
valueless as music, So, to be sure,
are many other operas—among
them “The Barber of Seville,” an
admitted masterpiece
Dramatically, “La Sonnambula”
« 18 more childish than even “L'Eli
sir d’Amore” or “Un Ballo in
Maschera.” It is impossible to
treat the libretto seriously. The
proceedings of the villagers who
break into Count Rodoifo’'s bed
room so unceremoniously 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,
Eivino, he inspires contempt for
doubting his sweetheart and for
saking her to make love to Lisa.
But in Bellini's dayv librettos
were often merely pretexts for
florid singing And there are
songs in “La Sonnambula” which
stili appeal to thousands of even
the most hardened operagoers !
Melodies Are Trivial. ‘
The faot that you and | may !
not bé 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 trivia But |}
hundreds—perhaps thousands—in l
the house last night approved
them ali and applanded warmly
In the titie role, Atlanta for the
second time enjoyed the art and
entrancing tones of Mme Bar- |
rientos, Again that charming l
singer scored her points by the
refinement of her stvie, the skill
with which she managed a voice
put to fatiguing tests a day -
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 tomorrow night
Only seldom during the perform- {
ance-—which, if less 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
faultiess taste,
Shows Her Resources.
Her best chance came quMe at
the close of the opera, In the
air long popular throughout the
world as “Ah, non glunge” In
that pleasing song she showed Lhe
resources of her always gracious
art and won her aundience, as she /
had won her hearers lin “Lacia”
by the loveliness of her tones, lr
delicacy of her shadings and the
flueney of her singing
Mme. Barrientos is not a good
actress, She trusts entirely to her '
exquisite volce and personality |
He gestures are not always g
beautifu
A new lyrie tenor, M. Damacco, ’
was introduced last night to At- |
lantans in the role of Elvino. His
rather pale, though tuneful, voice |
made a favorahle Impression and
won him seven recalls after his ‘
rendering of “Ah. perche non |
posso” (“Still so gently”™) at the |
end of the second act !
The Rodolfo of M. Didur, the |
Polish basso, seemed (oo porten i
tous. M. Didur is more content !
ing in Mozart than he will ever
be in Bellini
One of the most interesting sea.
fures of the parformance was the |
first appearance in this elty of |
Miss BEdith Mason as lisa, the }
Jenlous and jove.sick rival of
Amina She had only one rea
opportunity of revealing her qua
ty-~in the cavatina at the he
ginning of the oapera ("Tutio » |
gloin) Misse Mason has & warm i
And flexible soprano, which has
been well trained by no less & |
teacher than Edmond Clement !
Another attractive stranger in |
the cast was Mme. Perinl, a mes ]
ro«moprane, who appearel in the
small part of Teresa '
Maestro Polacco conducted with |
his habitual skiil l
The performance of “La Bon.
nambula® was follawed by a so. |
ries of brief dance divestisse i
Mments, In which Wies Nosina (Inl. |
i the Metropolitan premiers i
" again agparmed the ay
i m:fi her unosnsl grare
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 favorite,
dory of TMartha,
Opera for Friday.
“MARTHA"
Lady Harriet (Martha),
Maria Barrientos
Nomill ivviv.dsiiivi iove Perti
Lionel ......c.0.5... Enrico Caruso
Plunkett ......... Giuseppe de Luca
Tristan ........ Pompilio Malatesta
Opera in Four Acts,
By Frederich von Flotow.
“Martha " by Friedrich von ¥lo
tow, was another favorite of our
grandfathers, and the only work
which survived its composer. It
has been sung by great artists
and by amateurs in the world's
capitals and in town halls, Its’ y
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 ha# been con
sidered too “light” for the dig
nity of the Metropoiitan compa
ny, but after its revival this sea
son its instant popularity-—notht
ing save “Carmen” has approach
ed it in public favor-—proved that
even New York operagoers had
not forgotten thel.r love for melo
d’sv. . ~ »
The o‘en gives almost equal
opportunity to four leading sing
oS SOPranco, tenor, Mezzo-soprano
and baritone, and, indeed. the four
are singing together almost en
tirely through the second 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 b‘lnf com
posed by a German, sung in Ital-
B
Chamberlin-Johnson-Dußose Co.
ATLANTA NEW YORK PARIS
Here’s Going to Be a Great and Splendid
Sale of Silk Remnants
At Chamberlin-Johnson-Dußose Co.’s Friday
The covers will be lifted at 9 o’clock—and then vou shall see rem
nants, remnants, remnants of the silks that are making this THE notable
silk season of vears.
We've been selling silks this season! Because we've had the kinds
women knew were the smart things—the result of this unusually large
business is an unusually great accumulation of short lengths,
Now they go in a typical Chambe rlin-Johnson-Dußose Co. sale, which
means that von may¥
F Thi
Save a Fourth, a Third, a Hali
There are dress lengths, waist lengths, beautiful silks for linings and
trimmings; i faet, silks for about every purpose.
Crepes de Chine Crepe Meteors Satins
Gros de Londre Poplins Failles
Foulards Pongees
Plaid Taffetas Kimono Silks Jap Silks
Pussy Willow Taffetas Wash Silks Chiffons
Flowered Taffetas Striped Taffetas Georgettes
Chamberlin-Johnson-Dußose Company
ian, its characters English, and its
audience American. It is one of
the sow operas, by the way, which
have been sung in English with
complete success,
The scene opens in the boudoir
of Lady Henrietta, afterward
Martha (soprano). She is grow
ing weary of a dull court life, and
her maid, Nancy (mezzo), guesses
that love is the missing requisite.
They sing the duet, “Ah, Those
Tears,” and Sir Tristan (buffo
basso), Henrietta's cousin, and a
gay old dog, enters. The two
women tease him unmercifully.
Behind the scenes is heard the
chorus of servant maids on their
way to the Richmond Fair, and
Henrietta insists on dressing as a
peasant and joining them. Nancy
jovfully agrees, and even old
Tristram is persuaded to don a
farmer's garb and accompany
them,
Scepe 1T shows the fair, where
every year the farmers come to
choose their servants. The law
requires that one who has accept
ed a cazh payment is bound for
a year. The scene is a gay one,
with a chorus of f;rmen and
servants and market Tolk.
Lione' * (tenor), and Plunkett
(haritone). two fivung farmers, in
search of housemaids, 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 trouble
should appear, must be given to
the Queen. They two sing the
duet, frequently used in religious
musie, “Lost, Proscribed, a
Friendless Pilgrim.” descriptive
of Lionel's history and his discon
tent with his present lot. The
Sheriff begins the auction of
servants, and the farmers bhid
them In There are swinging cho
rusges here for men's and women's
THE ATLANTA GEORGIAN
voices, and the scene is an un
usually picturesque one.
Lady Henrietta, Nancy and Sir
Tristan, in their servants’ attire,
now enter and look about them
curiously. The two farmers toke
immediate fancy to them. TWNstan
is frightened away by a swarm of
girls who insist that, he hire
them, and the masquerading pair
take advantage of his absence to
open a flirtation with the young
farmers. Plunkett timidly opens
negotiations for their services,
and before they realize the extent
of their prank they have accept
ed the earnest money and are
bound for the year. The act ends
in a quartet and chorus, and as
the curtain descends Lionel and
Plunkett lift their new servants
into a farm cart and drive away
with tifem.
The second act introduces but
the four principals, who have a
surprising series of quartets. It
is the interior of the farmhouse,
and the brothers are trying hard
to explain to their frightened
maideervants their 'ew and un
accustomed duties,
The opening number is the
quartet, “This Is Your Future
Dwelling.,” ending in a remarka
bly beautiful passage. Lady Hen
rietta says her mame is Martha,
and Nancy chooses “Betsy” for
her masqgendo‘ 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
ly imitates in rhythm the sound
of the whirring wheel. It is an air
that sticks in one's memory. Nan
cy, rebellious, upsets her wheel
and runs away, leaving Lionel
and Martha. .
It i= 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
gr and sings “The Last Rose of
Summer.” This gem of the op
era is not Flotow's, but an 4ld
Irish air, to which words were set
bv the poet Tom Moore. The
Italian words in the opera follow '
rther closely the poem of the
R RRRRRRGGRRIIIIIS————=—=———
Irish bard. When this aria has
closed Nancy and Plunkett re
turn and the “Good Nignht”
quartet is sung, The two girls
prepare, to retire when Sir Tris
tan appears at the window. They
slip away with him and return to
their' castle.
" The third act opens upon a
park in the loreq. The Queen is
hunting, and the voung farmers
have come to watch the hunt.
Plunkett sings tne stirring drink
ing song in praise of English ale,
The stageful of villagers joins in
the chorus, and Nancy and her
companions, in hunting coatume,
enter, Nancy sings her aria, "My
Heart Knows Not,” and Plunkett,
recognizing her, reproaches her
for running away, He is about to
seize her when the hunting girls
surround her, and the scene is in
terrunted by the entrance of Lio
nel, half-mad, from grief. He
sings a bit of Martha's alr, and
then begins the tencr number
which is sung on every concert
stage, “Like a Dream.,” or, as it
is better known, “Ah, So Fair; Ah,
So Bright.”
Sir Tristan and Henrietta en
ter, and Lionel, recognizing his
logt love, accosts 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 finger and asks that it
‘Chamberlin-.lohnson=llnßose (0. Atlanta— New York—Paris Chamberlin-Johnson-Dußose Co.l
Friday the Primi f
.
r
Garden Party and Graduation Dresses
There is a new and lovely airiness, a daintiness not at
tained before in the all-white and the almost all-white
dresses that we have gathered for this display. .
But before we go a word farther, let us make a promise /’\
vou will find that not the least attractive part about thisdis- 77 4 ;
play is that the prices are so EASY. Which is another way / { A
of saving that the dresses are unexpectedly and unusually l g \
pretty, a 0 B
. 7/ : "“,,
Nets and Laces and Ribbons Cx Y
Sound the three words—nets, laces and ribbons—ordinary 5/; prr
. . . . ¢ 2 4 11\ -
words that mayv mean anyvthing, but that do in this instanece fer f \\g &,
mean dresses of lily beauty., Fornets and laces and ribbons o 7 [ | \ 0
have been used by artists and have been combined into ’/ / Fl'\\ ™
EFFECTS. 2
Come and see—that’s the thing! // )/§
See how the nets, plain, threaded, embroidered ;md"/rl ‘\ ‘ L \e
draped into tunies and overskirts, how the laces form the ™ ; ERR'
charmingest little frills and ruffles, how the ribbons show s‘ L .A
as girdles under the nets—there's so muech to be seen that /-'K
can hardly be told of. Indeed, the premiere of Garden : ‘
Party and Graduation Dresses means more this season than ’ |
ever before, /’9&3@
$12.50, $17.50, $19.50, $21.75, $25.00 to $48.50
AMPEIrinN:=4OONOSON:=OuUDOSE LO.
be given to the Queen, whose ap
proach is announced by trumupets.
The scene ends in a magnificent
finale, a bit of concerted music
which has few rivals,
The fifth act reveals the farm
house again, with Plunkett sing
ing his fine aria, “Oh, My Unhap
py Lionel.” This scene and its
aria frequently are omitted or the
action transferred to the closing
scene. In this it is discovered
that Lionel is really the Karl 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 Henri
etta and Nancy, once more in
d .
Mrs. Gadski Here
Mme. Johanna Gadski, the great so
prano who is to sing Eva in “Die
Meistersinger,” was gretting her old
friends in Atlanta Thursday and look
ing forward to Saturday afternoon.
She arrived ¢rom New York Wednes
day afternoon,
Antonio Secotti, who will appear
only on Saturday night, was expected
to arrive Friday, as were a group of
German singers cast for the one
Wagnerian opera of the week,
Sing Haunting Airs
ing Haunting Airs
Of Puccini’s Opera
By ENRICO CARUSO.
o sy Like “‘Traviata,”” ‘‘Manon’’ and ‘‘ Romeo
§ e | ct Juliette,”” Pucecini’s opera, ‘‘La Boheme,”
L 1 deals with romance and youth.
L 'é The story of the lovers—there are four of
i L § them—told with such eloquence in “‘La
{ B geees Y © Boheme,” has the eternal charm which makes
) ; "’fi! us love the picturesque ‘‘scenes’’ of Henri
PG o | Murger.
e The world will never weary of such tales
PR i as those of Rodolfo -and poor Mimi, the
i‘ ¥ & | grisette. It will always smile at the whimsi-
OB £ calities of such sweethearts as Marcel (Mar-
E { + cello in the opera) and Musetta (the Frenech
i P al . Musette).
Rioimsomnmmriigosnill las not the very name of the ‘‘Latin
Quarter’” an everlasting spell to all our ears? The ups and
downs of artists, poets and painters, in their strenuous days,,
are dear to every heart. |
We singers, also, have lived through sueh ‘‘scenes’’ as
Murger speaks of in his graphic book. What misery have we
not had to bear before we won our first success! The faet
that Marcello was not an aspiring singer, but a painter, is a
mere detail. Besides, next in -importance to Marecello and
Rodolfo with their lady loves, is there not Schaunard, the
musician, in the libretto?
You in the audience will look on with sympathy while
wé shall sing to you in ‘‘La Boheme.”’ g
Not for the firgg—nor as I hope, last—time shall T sigh
and smile on Saturday night with Mimi, whom Rodolfo loved
and lost, '
My dear friend Secotti, 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 ohce more at the follies
of the ‘‘Bohemians’’ in their attie.
In ““La Boheme’’ Puceini 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 aet: 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 pagt two weeks I have written a greaf deal in my
own way,
I have told you of many operas. Some of them you have
heard. Some yvou have still to hear.
And now the time has come for me to stop my talks and go
back to the work | love so well. Tt 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, T will lay down my pen. The curtain
will soon rise on ‘“‘La Bohme.'?
Till then, farewell. Or rather, let us say, A rivederei!
E tempo di cantare!
ATLANTA.. GA.
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