Newspaper Page Text
FRIDAY, APRH. 28 1916
BRILLIANT PERFORMANCE OF ‘AIDA’ THRILLS MATINEE CROWD
' .
Martinelli, Amato, Ober and
- Sparkes All Charm Hearers
With Splendid Work.
“41DA”
Opera in Four Acts and Seven Scenes
Book by A. Ghislanzoni
(In ltalian)
Wusic by Giuseppe Verdi
The King" .....s::.. Basil Ruysdael
Amaneris ........... Margarete Obe
B 6. ... onvii . Prances Alda
Radames ...... Giovanni Martinelli
SROMgIR . L N L ekt Neott
Amonasro ......... Pasquale Amato
A Messenger ........ Pietro Audisio
W Priestess ........ Lenora Nparkes
Conductor, Gaetano Bavagnoli
Ntage Manager, Jules Speci,
Chorus Master, Giulio Setti -
Technical Director, Edward Siedle
Premiere Danseuse, Rosina Galli
Buallet Mistress, Pauline Verhoeven
~By CHARLES HENRY MELTZER.
Incredible as it mav seem to
those who attended the remark
aoie performance of “Aida” yes
terday afternoon that master
work of Verdi at first did not
araw the crowd at the Metropoli
tan
-
Sma houses were quite fre
aquent on the early New York
nights of \ida
Bur now it is more popular
perhaps., than any opera in the
Metropolitan repertoire
Had Caruso heen announced to
ippear as Radames there might
nog hav been more than stand
ing room fom Ile at the Audito
rium vesterda For the publie
the world over knows that “Aida.”
even half well sung is alwavs
sure 1o be worth seeing and worth
nearing
\ deaf 1 ould enjoy it fér
¢ omp and show demanded by
he opera The blind would be
paid the price of seat by Ver-
I's music
Thoug Ve i had abandoned
first manner when he wrote
is opera—the turning point had
come some vears before, with the
roduction of his “Don Carlos”
» \ida”™ he gave ample evidence
of his conversion, once for all. to
a ew stvle
And. with submission to all per
e Wagznerites., that stvle owed
o 1 little to the omposer of
Tristan and Isolde” and the
Nibelung Tetralogy \ll that the
zreat Italian owed to Waegne vas
the example of earnesiness,
In the opinion of good judges
Verdi's “Falktaff nd Otello™
ranl higher thar Aidsa But
the are less pompous and less
clear their appeal to the aver
Ige sensual man and woman of
‘ orld. The melodies in “Aida”
ATE O Iled in beauty by the rich
and iried harmonies Exot
victures of great poetic charm are
suggested in the libretto Great
o s in striking costumes fil
stage. There are ballets, songs
d nageants in this work., which
Verdi invented. at the ish of the
'y ress Fugenie, i honor of the
completion of the Suez Canal—
noar! half a centurs 120
.
Betwee) s Nab O and
\ 1 \er ad turned ot
n e than one oble worl His
Rigoletto aind “T.a Forza del
Nest ire two of them It is
¢ wrchestration, above all
X the =w Busseto’
OW i TOW modery he had
¢ e made 8 setting
¢ 2 < Fgvptian stors
| ilve seen the Khedivia pera
S ¢ Cairo v }
' ece of re shelter £
\ By compariso th the
A tory n ¢« 80 small that it
ems miraculous it could ever
s d om f t
<evera 1 o EeTrSONS 4are re
red 11 e second act., to dq
mmaot j 1 O 1€ ntent s
yrett
Y ¢ 30 ha ‘ idvantage of
cit ! ¢« the tale of
proud vOlnet ot prin
‘ love vit ‘ game
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Anan. Of the princesses, one, is
Amneris, the daughter of a King
unnamed, who rules over Egypt.
The other is Aida, whose father,
the wild and shaggy King of
Ethiopia, is taken captive (like
Aida). The man and hero in the
case is Radames. At the bidding
of her father, Amonasro, Aida, in
the wonderful third act, induces
Radumes L 0 renounce his country.
For this the lovers pay in the
last scene with their two lives.
And, like all operatic lovers, theyv
die singing. 9 b
Verdi's genius lhas enahled him
to illuminate the\\ romantic plot
with power and charm. Few op
eras of the Kkind called “grand”
have such a wealth of beautiful
“-arias, marches, duos, ensembles
and dance numbers. At the very
outset, some five minutes -after
the curtain has been drawn aside,
the hero is cailed upon to sing the
melodious tribute to his sweet
heart, known as “Celesta Aida.”
In guick succession we hear the
far-famed solo of the heroine, “Ri
torna Vincitor,” the languorous
chant of the unseen Priestess in
the Temple of Phta, the stirring
“Mareh,” which introduces the
“Triumph of Radames” on his re
turn from war; the voluptuous
ballet numbers; the poetic lament
of Aida for her fatherland (O,
patria mia’’), and the ecstatic love
duo of Radames and the heroine.
While, as a final offering, Verdi
has given us the duo of the
doomed lovers in the dungeon be
neath the temple. \
Treasures of melody have been
'avished on the libretto. And in
the instrumentation the compose:
has found new and marvelous
color.
It pains me to be forced to say
such things: but no Oriental ever
would have dreamed of Verdi’s
> “Kasterner” harmonies. The.real
llast is not what composers make
it when they create *“grand” op
eras,
- - ®
Apart from an occasional lapge
of Mme. Ober, the Amneris, and
M. Martinelli, the Radames, yves
terday’s performance of “Aida’
was an uncommonly fine one.
There were times, too. when Mme.
Ober’'s splendid voice made full
amends for the artist's faulty
enunciation and uncertainties as
to the pitch. In the.opening act
and later, M. Martinelli sang
slightly flat. But he redeemed
himself by the glorious power and
quality of his tones in the duos
with Aida-—more particularly the
rhapsodic love duos.
The Amonasro of M. Amauto, the
popular baritone, was vigorous
and impressive, M. Henri Scott
did bravely,as the High Priest.
. The lovely phrasing of Miss Le
nora Sparks, in the chant of the
Priestess, was a delight. And the
ensemble work throughout did in
finite honor to Mr. Speck, the
stage manager, and to Mr, Setti,
the chorus master.
The most noteworthy feature of
the performance, however, if I ex
vept the reading of the score by
the orchestra under the direction
of Maestro Bavagnoli, was the
Aida of Mme. Frances Alda.
Till yesterday. Mme. Alda had
not sung the part. For two long
yvears, though, she had studied it,
hoping against hope for an oppor
" tunity of showing what she could
do with it.
It would be paying Mme. Alda a
poor comniiment to suppose her
capable of believing that she was
perfect in her first struggle with
orre of the most exacting roles in
opera. What she accomplished
showed. however, that ere Jong
she may be an admirable expo
nent, vocally and otherwise, of
the Kthiopian heroine. The beau
ty of her tones in the “Ritorna
vincitor” of the first act was no
less pleasing than her smooth, fin
ished style and sustalned breath
control.
In the third act, the demands
made by “O patria mia”’ seemed
rather trving to Mme. Alda. Baut .
she put genuine ‘rapture into the
svegeeding love-duo and, by her
art, hid 1 some little weaknesses
due, possibly,"to a slight cold or
IIP"\'(D\]_SHGHF.
The taste with which Mme
Alda had composed her costumes
helped largely —like her phvsica!
attractions—to suggest her as
sumed character e
I may add that the vast audl
ence showed its liking for the new
Alda by reneated and enthusiastic
curtain calls,
As County Commissioner,
J. Lee Barnes will devote his
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Vote for him today.
e —————————————— - — " 22" sttt et
Teislersinger” at
dafurday Matinee
SRAGE RGP b e Ngo e P
Though “The Mastersinger” is
' an opera by Wagner, it is fa¥ from
“Wagnerian” in its music. Writ
ten 'in 1868, after “Tannhauser’
and “l.ohengrin,” it preceded
Wagner's “BRing® series. The
composer had not begun to create
the a.revolutionary music-dramas
whose construction defied conven
tions and set the world clamoring
that he was mad. “Der Meister
singer” is a comedy, filled with
fun and satire, and set to music
SO luneful.. so gay and lilting, that
it is difficult to believe it was
written by the pen which after
ward created "Die Walkure and
“Siegfried.” The later works of
Wagner dealt with the mytiMNeal
gods of the Nibelungen legends.
“Der Meistersinger”" presents hu
man men and women. plain
burghers, journeymen and ap
prentices of old Nuremberg. where
the Guild of Master Singers is of
féring its annual prize for the
best composition most beautifully
sung. About this competition and
the love affair of \ther and Eva
is built the story.
The opera introduces an un
usually large cast, nine bassos
and baritones, five tenors and two
sopranos having individual parts,
while the chorus, one of the great
features of this work, is larger
than usual and trained to the
most skillful work. Jhe settings
given the opera by the Metropoli
tan are among the most beautiful
in its possession.
Enters Song Contest.
The first act opens on the inte
rior of a church, where Eva (so
prano). daughter of a goldsmith,
meets and loves Sir Walther von
Stolzing (tenor). He learns that
Eva's hand has been promised to
the winner of the song contest
and resolves to enter the competi
tion. David, an apprentice (ten
or) is in love with Magdalena {so
prano). They ¢iscuss the contest
and the church fills with appren
tices. David explains to Walther,
in a humorous air, the intricate
requirements of the prize song,
which must be written by most
arbitrary rules, Beckmesser (bar
itone). the town clerk and a fool,
is in love with Eva., and deter
mines to defeat Walther. He is
himself chosen as “marker” to
judge Walther's song. The pre
liminary test begins and Beck
messer gives Walther so many
bad marks that he is barred from
the contest. Pogner (bass)). Fova's
father, announces that her hand
will be the prize
The second act shows the
quaint medieval street, with Pog
ner's home at one. side and the
cobbler’'s shop of old Hans Sachs
(bassu) on the other. The cobbier
takes a fancy to Walther and re
solves to aid him. "1t is dusk, and
Eva and her father approach
their home. Hans Sachs, haunt
ed by Walther's song, solilogquizes
on its beauty.
Eva and Walther plan to elobe,
but their departure. from the
house is interrupted by the ap
pearance of Beckmesser, who ap
pears with a lute to sing a sere
nade beneats Eva's window.
Sachs piaces his light so it will
shine upon the foolish lover and
as he begins lis air the cobbler
pounds lustilv upon a shoe, sing
ing at the top of his voice and
drowning poor Beckmessers at
tempts. ° After a quarrel, he is -
permitted to proceed. but he has
become so worried that he for
gets his air places his accents
absurdly and makes a total ‘ail
ure. Sachs, with his hammer.
pounds the shoe at every false
note. Beckmesser discovers he
has been wasting his efforts be
neath the wrong window, and Da
vid, believing the clerk is sere
nading Magdalena, comes out
with a club. The whole neighbor-
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LHE ATLANTA GEUOXKGLAN.
hood is aroused. Journeymen and
appreuntices pour from their
houses. Windows 20 up and wom
en poke out nightcanped heads.
The confusiod is almost a riot. It
is one of the most difficult en
sembles to stage fMown in the en
tire field of opera.
Tells of His Melody.
The third act shows the interior
of Hans Sachs' shop, with David
and the old cobbler. Sachs sings
an -air, “All the World's Maq.”
and Walther enters from an inner
[ chamber. He tells of a wonderful
| melody which had come to him in
~ his dreams. a melofi_\' which sure
- 1y is worthy the fprize competi
tion. They write'it down and
leave the manuscript on the table.
,Beckmesser comes in and ques
tions Sachs abont the air. The
cobbler offers to each him the song
ana permit him to sing it in tle
contest, for Sachs has an idea
which may gain for Waither an
entrance to the competition.
Beckmesser, overjoyed. falls into
the trap and departs to learn the
song.
Eva, attired for the festival,
enters. She renews her flirtation
with old Sachs, whom she pre
~ lends she adoresys but he laughs
a. her. He calls in David and
diagdalena as witnesses and they
| christen Walther's soug. Here
- occurs the famous Quintet.
| The scene sh)f(s to an open
meadow peside the river, where
are gathered all the Nuremberg
ers in festal attire. The scene is
a medieval pageant. a rainbow of
coler. The orchestra plays the
famous “March of the Guilds” as
the master tradesmen of the city
enter and take their places. Boats
are moving up and down the
streamm and the apprentices. in
ribbons and plumes, welcome each
a-rival on the scene. The guilds
march in. each singing its own
dir—the bakers, the shoemakers,
the tailors. The master singers
march to their places up the
stage.
Hans Sachs, master of cere
«Mmonies, announces the contest
and the competition bhegins. Beck -
messer. equipped with his new
song, but overcome with nervous
ness, ascends to the mound, takes
a la=t peep at his manuscript and
begins the air which Walther had
written. He mixes his new mel
ody with the old one, forgets the
words and sings sheér nonsense.
The people hoot him off the
mound and he cries that the song
was written by Sachs and if it is
foolish it is the cobbler's fault.
Sings “Prize Song "
This is the opportunity for
which Sachs has waited. Rising,
he says the song was written by
Walther and conforms to all the
tules. He demands that Walther
be permitted to sing it to demén
strate its true merits. The mas
ter singers agree, and Walther,
taking the place of honor. begins
the great “Prize Song,” a favorite
with German tenors and even
more frequently the choice of con
cert violinists. He is acclaimed
the winner, and Eva gives him
her hand.
“Der Meistersinger” is a rather
lengthy work. Even with the nu
merous cuts made in the original
score, it consumes fully four hours
in nresentation.
It is difficult, Inh a prose story
of this opera, to point out the
beauties of its score, for it has
few of the “set pieces” which
grace the I[tal’'an works, Its won
derful mueic is found from begin
ning to end, in the sonorous
recitatives of the bassos and bar
itones, the frequent dialogues of
tenor and soprano and especially
in the superb handling: of its
great ensembles. It is to bhe joved
and admired as a whole rathe:
than. for lits *“great moments "’
though these are many
Continued From Page 1.
tonio Scotti. veteran baritone and At
lanta’'s adopted son, would be unable
to appear on Saturday night., because
of illness in. New York. Scotti became
ill several months ago, but a visit /to
Florida restored him sufficiently for
him to return and sing several times
n Boston
Scotti Far From Well.
But friends in the company say he
was far from well, and several days
Ago expressed doubt that he would at
tempt the long trip So Atlanta is to
hear Amato for the third time, and
this goes far to temper the regret that
Scotti will, for the second time. miss
an Atlania season,
Amato w replace Scotti as Marcel
n la Boheme,” a role containing
several fine numbers, inc luding duets
and trios and one wrilliant quartet It
is a lighter role, more lyric in quality
than those usually assigned this
sonorous baritone, but Amato proba
bly will prove his artistry by singing
t with grace and beauty (‘aruso is
10 be the Rodolpho and Alda the Mimi.
l.enora Sparkes, whosé fine voice was
heard from behind the scenes in
Aida,” will be the vivacious Muselta.
Audi Goes Wild
At "“Aida"” Matinee
The matinee performance of “Aida
Thursday afternoon drew an audience
which filled almos every seat in the
~rium, an audience which rose
n its seats at the close of the great
scenes and cheered the singers until
they would come before the « urtain no
more.” 1t was the most demonstrative
gathering of the week, and certainly
the cause was worthy of its effect
\largerete Ober, Frances Alda, Gio
vanni Martinelli and Pasquale Amato
shared in the day's triumph and its
reward, and Gaetano Bavagnol the
onductor, was called to the foolights
to bow his acknowledgments His
siender figure, in close-fitting black
offered a start!ing contrast to the
ainbow costumes of the singers who
stood beside him
Aida twice sung here, is too fa
miliar to demand an extended review
It was produced more brilliantly than
ever before in one particular, at least
in that new and more ornate costumes
were provided It is a work that ap
peals to e eye no less than to the
ear, a pageant which has few rivals
The famous second act, the tri imph
ant return of the warrior hero. was
the most sumptuously staged scene
ever presented here
After such a performance as that of
Thursday one would esitate 0
Choose any one of the principals for
the first laurels. But, happily Aida”
gives glory enough for all I never
eard Mme Ober's big ontralto to
such advantage as in Amneris Mme
Alda's clear soprano was more t} ar
usual! effective i ) patrio mia
and in that ha'nting duet at the end
O terra addio Martinel] afte
18 first moments, sang Rhadames in
a manner which proves his right to
these heroic roles. and Amato, the
Amonasro. repeated his former suc
cesses in the role. Heuri Seott's bhoom -
ng Hasso was given excellent oppor
tunity in the Hie Priest’'s role, and
Basil Ruysdarl was a most impressive
'\ 2 I” e oice of l,""l'id Sparkes
as the Prlestess within the temple. re
vealed the ahbl) of t cter 12 sing
er as few of er roles ive done
Aida Toußnt the last appearance
¢ e 116 with Rosina Oa as
' & dancer n the great pageant
scen
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SAYSNLY. American
The New York American today
vublishes the following :
ATLANTA, April 28--Atlanta
received the Delilah of Margarete
Ober with appreciation of her art
and admiration of her scholariy
singing on the first night of the
opera season here, but it was not
until today that the great Ger
man contralto received her full
measure of appreciaticn from the
¥ Southern music lovers. C(astas
Amneris in "“Aida.” the old Verdi
favorite, she sang as Atlani(A has
never heard the part sung before,
though Atlanta has heard some of
the Metropolitan’s most noted
contraltos, including the great
Homer. She was given a tri
umphent ovation
Martinelli, cast as Radames and
Amato as Amonsaro shared equal
honors, both having to take re
peated curtain calls. Madame
Alda. who sang “Aida,” is an old
Atlanta favorite Her hundreds
of friends cave her a rousing wel
come and she rose to the occa
sion and sang splendidly: in fact,
a quartet of stars never received
more generous tiribute
Brilliant Dinner-Dance.
Following ,the opera tonight. a
very brilliant dinner-dance was
given at tke Druid Hills Country
('iub. This event was one of the
largest of the week and wasg at
tended by over a thousand of so
ciety's elect divided into nuser
ous small parties
A\l]\HH'_ those (‘|l|el'|:iilllrlfi weles
Mr. and Mrs. H. M. Atkinson. Mr.
and Mrs., William Lawson Peel,
("olonel and Mrs. Robert J, Low
ry, Mr. and Mrs. W, G. Bryan in
honor of Mr. and Mrs William
Randolph Hearst and their New
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Mrs. Forrest Adair, Mr. and Mrs.
Hugh Richardson, Mr. and Mrs,
W. A, Speer, Dr. and Mrs. lLewis
H. Beck, Dr. and Mrs. Floyd Mc-
Rae, Governor and Mrs. John
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Receptions at Clubs.
Friday night there will be re
ceptions at all of the clubs. Sat
urday night, following the opers,
A numhbér of farewell parties will
be given, those at the Capital City
Club, the Piedmont Driving Club
and Druid Hilis Club being espe
cially brilliant. Mr. and Mrs.
William Randolph Hearst will
give a party to about 100 guests
at the Georgian Terrace Hotel
following the opera Saturday eve-
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ATLANTA, GA,
ning There being two grand
opera performances cn Saturday,
a matinee and night perform
ance, socla! activities outside of
the opera vil be largely sus
pended until the conclusion of the
night performance 5
\tlanta has never bhefore been
so brilliant socially as this week.
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