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FRIDAY, APRIL 28, 1916.-
MELTZER DECLARES ‘LA SONNAMBULA’ IS A- DRAB AFFAIR AT BEST
Spanish Coloratura Sings in Bril
liant Voice and Charms Audi
ence With Melodies.
t “LA SONNAMBULA”
Opera in Three Acts and Four Scenes
Book by Felice Romani
(In Italian)
Music by Vintenzo Bellini
Count Rodolfo ....... Adamo Didur
OEEBO o v ol Blork lerini
amine o, ..., Maria Barrientos
Ewino .......... Giacomo Damacco
SRR o S AR Mesha
alesslo (... 00 i (Mullo Rosst
4 Notary ;.5 ..5 Bletro A udisio
Conductor, Giorgio Polaceo
Ntage Manager, Jules Speck
Chorus Master, Giulio Setti
Technical Director, Edward Niedle
Followed by ballet divertisseme nts,
Rosina Galli, Premiere Danseuse s
Giuseppe Bonfiglio, Premier Dan
seur, and Corps de Ballet.
Ceonductor, Alessandre Scuri.
By CHARLES HENRY MELTZER,
“La Sonnambula,” which was
performed Wednesday night at
the Auditorium, has worn less
well than the tragic “Norma” of
Bellini.
: When I heard it g 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
as enchanting now as it did three
centuries ago, when it was sung
in Venice,
To be frank, Bellini’s opera
rather bores cne, though it is
studded with a few engaging arias
and effective choruses. It -38
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”
is 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 Rodolfo'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,
lElvino, "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 Sonmambula” which
still appeal to thousands of even
the most hardened operagoers,
Melodies Are Trivial.
The fact that you and [ may
not be grawn to this example of
old opera as we were to “Lucia”
did not prevent the other Tfact
that many in the Auditorium au
dience liked "La Sonnambula.”
The frank melodies of the com
poser are somewhat trivial. But
hundreds—perhaps thousands—in
the house last night approved
them ali and applauded warmly.
In the title role, Atlanta for the
second time enjoyed the art and
entrancing tones ‘of Mme. Bar
rientos, Again that charming
singer scored her points by the
refinement 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 less brilliant than
it might have “been, was nicely
balanced and entirely creditable—
did the Spanisi singer give one
the full measured 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
air long popular throughout the
world as “Ah, non giunge.” In
that pleasing gong she showed the
resources of fwr 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.
Her gestures are not always
beautiful, :
A new lyric tenor, M. Damacco,
was introduced last night to At
lantans in the role of Elvino. His
rather pale, though tuneful, voice
mgde a favorable 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 too porten
tous. M. Didur is more content
ing in Mozart than he will ever
be in Bellini. A
One of the most interesting fea
tures of the performance was the
first appearance in this eity of
Miss FEdith Mason as Lisa, the
jealous and love-sick rival of
tAmina. She had only bne reai
onportunity of revealing her qual
fty-——in the cavatina at the be
ginning of the opera (“Tutto e
gloja™). Miss Mason has a warm
and flexible soprano, which has
been well trained by no less a
tecacher than Edmond Clement,
Another attractive stranger in
the cast was Mme, Perinl, a mez
zo-soprano, who appearel in the
small part of Teresa, ?
~ Maestro Polacco conducted with
Nile habitual «kill,
The performance of “T.a Son.
nambula” was followed by a =e
ries of brief dance divertisse.
mente, In which Mice Rosing Gal.
1. the Maeatropnlitan premiere
danseuse, again charmed the au
dience 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 bavitone, and Antonio SM)H;N Atlanta favorite.
Story of Tartha?
opera for Friday
| “MARTHA”
Lady Harriet (Martha),
Maria Barrientos
NURCY 0 ciliise s, v ora Pévind
Déonel . i iioviipee- oy Caruso
Plynkett ......... Giuseppe de Luca
Tristan ........ Pompilio Malatesta
Opera in Four Acts,
By Frederich von Flot‘ow.
| “Martha,” by Friedrich von Flo
~ tow, was anothér favorit‘e of our
~ grandfathers, and the only work
~ whieh survived its composer. It
has beeh sung by great aftists
and by amateurs in the world’s
capitals and in town halls. Its
~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 yedrs. it has been con
sidered too “light” for the dig
nity of the Metropeiitan compa
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; soprano, 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 being com
nosed bv a German. sung in Ital-
lo : :
Chamberlin-Johnson-Dußose Co.
ATLANTA NEW YORK PARIS
Here’s Going to Be a Great and Splendid
Sale of Silk Remnant
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 THIE 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 unusuallv large
business is an unusually great accumulation of short lengths.
Now thev go in a typical ( ‘hambe rlin-Johnson-Dußose Co. sale. which
means that vou may :
S F Thi
ave a Fourth, a Third, a Hali
There are dress lengths, waist lengths, beautiful silks for linings and
trimmings; in 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
Pugsy Willow Taffetas Wash Silks Chiffons
Flowered Taffetas Striped Taffetas Georgettes
Chamberlin-Johnson-Dußose Company
ian, its characters English, and its
audiente Ameri¢an. 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 T.ady 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
jeyfully agrees, and even old
Tristram is persuaded to don a
farmer's garb and accompany
them,
Sceéne II shows the fair, where
every year the farmers come to
choose their servants. The law
requires that one who has accept
ed a cash payment is bound for
a year. The scene is a gay one,
with a chorus of farmers and
servants and market folk. ‘
Lione! (tenor) and Plunkett
(baritone), two voung 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
music, “Lost, Proscribed, a
Friendless Piigrim,” 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
ruses here for men's and women's
-IHE ATLANTA GEORGIAN—
“LHE 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 tzke
immed:ate fancy to'them. Tristan
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 tlie 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 att 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 them.
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
maidservants their new 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 name is Martha,
and Nancy 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
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. s
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 Flotow’s, but an old
Irish air, to which words were set
by the poet Tom Moore, The
Italian words in the opera follow
rather closely the poem of the
Irish bard. When this aria has
closed Nancy and Plunkett re
turn and the “Good Night”
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 forest. The Queen is
hunting, apd the voung farmers
have come to watch the hunt.
. 5 2 s
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 costume,
enter. Nancy singe 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
terrupted by the entrance of Lio
nel, half-mad from grief. He
sings a bit of Martha's air, and
then begins the _encr 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
lost love, accosts her. She cruel
1v 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=[)ußose Co. Atlanta—New York—Paris Chamberlin-Johnson-Dußose Co.l
Friday the Primi f
. -
y
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 /,r - |
dresses that we have gathered for this display. // ;// N
But before we go a word farther, let us make a promise— / - el
vou will find that not the least attractive part about this dis t o \ B
play 1s that the prices are so KASY. Which is another way 'l's‘4@?’\‘
of saving that the dresses are unexpectedly and unusunally e '7’?,3‘
pretty. 7vy ggffi:
bRI TR t
- - : - i AT
Nets and Laces and Ribbons ,-.);' RN
' | '/ 1/ O
Sound the three words—nets, laces and ribbons—ordinar %’ \ ‘\‘,
words that may mean anvthing, but that do in this instance - 1111 ?,q
mean dresses of lily beauty. Fornets and laces and ribbons Ko A
have been - used by artists and have been combined Into W \\\(\ \
EFFECTS. St ] .
Come and see—that’s the thing! Fopy 4 ‘(
See how the nets, plain, threaded, embroidered and [ - PF o
draped into tunies and overskirts, how the laces form the gl ™
: : s . . N
charmingest little frills and ruffles, how the ribbons show 5\ _
as girdles under the riets—there’s so muech to be seen that /A B\
can hardly be told of. Indeed, the premiere of Garden L'/n"a’:}}@
Party and Graduation Dresses means more this season than °
cever before,
- o ‘
$12.50, $17.50, $19.50, $21.75, $§25.00 to $48.50
dMDCTiN=JOIISOII=UIDOSE VO,
be given to the Queen, whose ap
proach is announced by trumpets,
The scene ends in a magnificent
finale, a bit of concerted music
which has few rivals. .
The fifth act reveals the ffarm
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 KEarl 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
.
‘Mrs. Gadski Here
To Sing Saturday
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 from New York Wednes
day afternoon.
Antonio Scotti, who will appear
only on Saturduy night, was expected
to arrive Friday, as were a group of
German singers cast for the one
Wagnerian opera of the week.
Caruso Is Eager to
Sing Haunting Airs
Of Puccini’s Opera
By ENRICO CARUSO.
Like “‘Traviata,” ‘“Manon’’ and ‘‘Romeo
@ aeates . of Juliette,”” Puceini’s opera, ‘‘Lia Boheme,’’
¢ { deals with romance and youth.
e g The story of the lovers—there arg four of
‘%W . § | them—told with such ecloquence in ‘‘La
: ; Boheme,”” has the eternat charm which makes
B L us love the picturesque ‘‘seenes’’ of Henri
. I'he world will never weary of such tales
P By i as those of Rodolfo and poor Mimi, the
: i Cgrisette. It will always smile at the whimsi
l i calities of such sweethearts. as Mareel (Mar
i 8 collo in the opera) and Musetta (the French
L L 8 Musette).
e el Has 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 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 faet
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?
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 T sigh
and smile on Saturday night with Mimi, whom Rodolfo loved
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 yvou laugh once more At the follies
of the ‘‘Bohemians’ in their attic.
' In “La Boheme'’ Puceini reached the perfection of his
delightful art. By most this opera is—and perhaps rightly—
regarded as the hest, 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 aect; 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 Marcello.
In the past two weeks I have written a great* deal in my
own way.
[ have told you of many operas. Some of jhem you have
heard. Some you have still to hear.
And now the time has eome for me to stop my talks and go
back to the work I love so well. It has been a great delight to
me to see vou all in Atlanta, so ardent and eager about musie,
and so appreciative,
With this brief chat. 1 will lay down my pen. The eurtain
will soon rise on *‘La Bohme.”’ 5
Till then, farewell. Or rather, let us say, A rivederei! *
K tempo di cantare! ™ .
—ATLANTA, GA.
3