Newspaper Page Text
FRIDAY, APRIL 958 1916 -
e ettt s
BRILLIANT PERFORMANCE OF ‘AIDA’ THRILLS MATINEE CROWD
Martinelliy Amato, Ober and
Sparkes All Charm Hearers
. .
With Splendid Work,
\ ATDA"
Opera in Four Acts and Seven Ncenes
800 l by A. Ghislanzoni
(In ltalian)
Husie by Giuseppe Verdi,
TRE . NMRD. 0:i.... ... Baril Ruysdael
Amneris ..:.:........ Margarete Ober
AIBQ ... . vip. - Seie.. Pronces Alda
Radames ...... Giovanni Martinelli
Ramfis: ..........u.... Henri Scott
Amonasro ......... Pasquale Amato
A Messenger ™. ...a... Pictro. Audisio
A Priestess ... .... Lenora Sparies
Conductor, Gaetano Bovagnoli
Stage Manager, Jules Speck ‘
Chorus Master, Giulio Setti
Technical Dwector, Edward Siedle
Premiere Danseuse, Rosina Galli
Ballet Mistress, Pauline Verhoeven.
By CHARLES HENRY MELTZER.
Incredible as it may seem to
those who attended the remark
able performance of “Aida” yes
terday afternoon that master
work of Verdi at first did not
draw the erowd at the Metropoli
tan
Small houses were quite fre
quent on the early New York
nights of “Aida.”
But now it is more popular,
perhaps, than any opera in the
Metropolitan repertoire
Had Caruso been announced to
appear as Radames there might
not have been more than stand
ing room for sale at the Audito
ium . yesterday. TFor the public
the world over knows that “Aida,”
even half well sung, is alwayvs
sure to be worth seeing and worth
hearing
A\ deaf man cobuld enjoy it for
the pomp and show demanded by
the opera The blind would be
epald the price of seats by Ver
di's music
Fhough Verdi had abandoned
iis first manner when he wrote
this opera—the turning point had
come some vears hefore, with the
sroduction of his “Don Carlos”
\ida” he gave ample evidence
> is conversion., once for all, to
e N Styvie
And. with submission to all per
fe Wagznerites, that stvle owed
¢ little to the composer of
Fristar and Isolde” and the
Nibelung Tetralog: All that the
areat Italian owed to Wagner was
the expmple of earnestness
In "9- opinio of zood judeges
Verdi's Falstaff and Otelto
ra higher tha: ‘Alda But
they are ess pompous and less
ear In their appeal to the aver
Ige sensual man and woman of
the orld. The melodies in “Aida’
ire eaualed heaut v the rich
¢ aried harmonies fixotic
victures of great poetic charm are
siiggested in the bretto Great
rowds i striking costumes Al
1 stage. There are balleta, songs
d pageants in this wor! whiel
Verdi invented, at the vish of the
Empress Eugenie. in honor of the
comnletion of the Suyez Cana! -
neay half a century age
- - -
Betweer < ‘Nah CoO aind
®sida.” Verdi ad turned yt
maore an one nohle work His
“Rigol'etto and I.a Forza del
Nestinn” are two of them It is
the orchestratior abhove all
that the “Swans RBussetn
showed how moder; he had
grown wher e made his setting
of Ghislanzoni's Egyvptian story
I have seen the Khedivial opeta
! Y ' (Cairo wi h had the
privilege of first sheltering
Aida " comparison with the
Auditorium, it is so smal! that it
seem#® miraculous it eould ever
have found room for it
Several hundred persons are re
iruired in the second aet. to do
aommon jJustice 1o the intentions
f the librettist
The book has the advantage of
simplieity It tells the tale of
vo proud women-—both prin
sxges-in love with the samg
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TODAY Is THE Day to Vote for A. A. Owen—Tax Receiver.m-——mw—mm—w-mmm—wm»m-——HE Is a Winne
m
man. 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
Radames to renounce his comnatry.
For this the lovers pay in the
fast scene with their two lives,
And, like all operatic lovers, they
die singing.
Verdi's .genius has enabled him
to illuminate the romantic plot
with power and charm, Few op
eras of the kind 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 called upon to sing the
melodious tribute to his sweet
hea;t. known as ‘“Celesta Aida.”
In quick 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
“March,” which introduces the
“Triumph of Radames” on his re
turn from war; the veoluptuous
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 composer
¢ 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
“Easterner” harmonies. The real
East is not what composers make
it when they create ‘‘grand” op
eras, ’
- - -
Apart from an occasional lapse
of Mme. Ober, the Amneris, and
M. Martinelli, the Radames, ves
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. Amato, 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,
i » "
The most noteworthy feature of
the performance. however, if | ex
cept the reading of the score by
the orchestra under the direction
of Maestro Bavagnoli, was the
Alda of Mme. Frances Alda.
Till yvesterday, Mme. Alda had
not sung the part. For two long
vears, though, she had studied i,
hoping against hope for an oppor
tunity of showing what she could
do with it
It would be payving Mme. Alda a
poor compliment to suppose her
capable of believing that she was
perfect in her first struggle with
ore of the most exacting roles in
opera. What she accomplished
showed. however, that ere long
she may be an admirable expo
nent, vocally and otherwise, of
the Ethiopian heroine. The heau
tyv of her tones in the “Ritorna
vincitor” of the first act was no
less pleasing than her smooth, fin
ished style and sustained breath
control.
In the third act, the demands
made by “O patria mia” seemed
rather trying to Mme. Alda. But
she put genuine rapture into the
succeeding love-duo and, by her
art, hid up some little weaknesses
due, possibly, to a slight co'd or
NErvousness,
The taste with which Mme
Alda had composed her costumes
helped largely—like her phyvsica!l
attract'ons—to suggest her as
sumed character
I ma) add that the vast audi
ence showed its liking for the new
Aida by reneated and enthusiastic
curtain calls
e ——————————————————————————————
.
As County Commissioner,
. o
J. Lee Barnes will devote his
.
efforts to reducing taxes.
Vote for him today.
Tleistersinger” al
Sarurday Matinee
Thougzh “The Mastersinger” is
an opera by Wagner, it is far from
“Wagnerian” in its music. Writ
ten in 1868, after “Tannhauser’
and ‘lLohengrin,” it preceded
Wagner's *“Ring"” series. The
composer had not begun to create
the 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 tuneful, so gay and lilting, that
it is difficult so believe it was
written by the pen which after
ward created “Die Walkure” and
“Siegfried.”” The later works-of
Wagner dealt with the mythical
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
fering its annual prize for the
best composition most beautifully
sung. About this competition and
the love affu.irr’ Walther and Eva
is built the sfory.
The opera introduces an un
usua‘lly 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 usuval and teained to the
most skillful work. The 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 in* -
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 bheen 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 discuss the cointest
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 % 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»), Kva'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
so:ves to aid him. It 's dusk, and
Eva and her father approach
their home. Hans Sachs. haunt
ed by Walther's song, =oliloquizes
on its beauty.
Fva and Walther plan to elope,
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 beneath Eva's window.
Sachs places his light so it will
shine upon the foolish lover and
as he begins his air the cobbler
pounds lustily upon a shoe, sing
ing at the top of his voice and
drowning poor Beckmesser's 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 fail
ure Sachs, with his hammer,
pounds the shoe at every faise
note Beckmesser discovers he
has been wasting his efforts he
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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THE ATLANTA GEORGIAN
B e RRtLNPARvTTTR eVIB S SR R SR R O
" hood is aroused. Journeymen and
apprentices pour from their
houses. Windows go up and wom
en poke out nightcanped heads.
The confusion is almost a riot. It
is one of the most difficult en
semblas to stage known in the en
tire field of opera.
! Tells of His Meiody.
The third act shows the interior
of Hans Sachs’ shop, with David
e
and the old gobbler. Sachs singe
an air, “All the World's Mad.”
and Walther enters from an inner
chamiber. He tells of a wonderful
melody which had come to him in
his dreams, a melody which sure
ly is worthy the prize comneti
tion. They write it down and
leave the manuscript on the table.
Beckmesser comes in and ques
tions Sachs about the air. The
cobbler offers to each him the song
and permit him to sing it in the
contest, for Sachs has an idea
which may gain for Walther 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
tends she adores, but he laughs
at her. He calls in David and
Viagdalena as witnesses and they
christen Walther's song. Here
occurs the famous Quintet.
The scene shifts to an open
meadow Dpeside the river, where
are gathered all the Nuremberg
ers in festal attire. The scene is
a medieval pageant, a rainbow of
color. 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
stream and the apprentices, in
ribbons Td plumes, welcome each
arrival on the scene. The guilds
march in, each singing its own
air—the bakers, the shoemakers,
the tailors. The master singers
march to their places up the
stage.
Hans S’achs. master of cere
monies, ahnounces the contest
and the competition begins. Beck
messer. equipped with his new
song, but overcome with nervous
+ ness, ascends to the mound, takes
a last 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 sheer nonsense.
The people hoot him off Ahe
mound and he cries that the song
was written by Sachs and if it is
foolish it is the cobbler’'s fault.
Sings “Prize Sonc ™
This is the opportunity for
which Sachs has waited. Rising
he says the song was written hy
Walther and conforms to all the
rules. He demands that Walther
be permitfted to sing it to demon
strate its true merits. The ntas
ter singers agree, and Walther,
taking the place of honor. begins
the great “Prize Song,” a favorite
with German tlenors and even
more frequentiyv 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
i presentation.
It is difficult, In a prose stor:
of this opera; to point out the
beauties of its score. for it has
few of the “set pieces’ which
grace the Itai’'an works., [ts won
derful music is found from begin
ning to end. in the sonorous
recitatives of the bassos and bha:
itones, the frequent dialogues of
tenor and soprano and especially
in the superb handling of its
great ensembles. It is to he [oved
and admired as a who'e rather
than for ite “great moments.”’
ghnu:h 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
in Boston
Scotti Far From Well.
But friends in the company say he
was far from well, and several days
A4go expressed doubt that he would at~l
tempt the long trip. So Atlanta is to
hear Amato for the third time, and
this goes far te temper the regret that
Scotti will, for the second time, miss
an Atlanta season. ‘
Amato will replace Scotti as Marcel
in “La Boheme,” a role containing
several fine numbers, including duets
and trios and one brilliant 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. Caruso is
10 be the Rodolpho and Alda the Mimi,
L.enora Sparkes, whose fine voice was |
heard from bcehind the scenes in
“Aida,” will be the vivacious Musetta,
Audi Goes Wild |
At "“Aida” Matinee
The matinee performance of “Aida"”
Thursday afternoon)drew an audience
which filled almost every seat in (h(~|
Auditorium, an audience which rose
in its seats at the close of the great !
scenes and cheered the singers untilf
they would come before the curtain nf‘:l
more. It was the most demunsnati\'e'
gathering of the week, and certainly
the cause was worthy of its effect {
Margerete Ober, Frances Alda, Gio- |
vanni Martinelli and Pasquale Amato |
shared in the dav's triumph and its |
reward, and Gaetano Bavagnoli, the
‘onductor, was called to the foolights |
to bow his acknowledgments His |
siender figure, in close-fitting black,
offered a startling contrast to the |
rainbow costumes of the singers who
stood beside him . |
“Aida,” twice s ing here, is too fa- |
miliar to demand an extended review. |
It was produced more brilliantly than |
ever before in one particular, at least
n that new and more ormaie costumes
were provided It is a work that ap
peals to e eve no less than to the
far, a pageant which has few rivals
The famous second act the triumph- |
ant return 'v.’ lfl" warr.or }Il"" Was
the most sumptuously staged scene!
ever presented here
After such a performance as that of
Thursday, one would hesitate o
choose any one of the principals for,
the first laurels. RBut happily Aida”
gives glory enough for all I never |
eard Mme. Ober's big ontralto to
s h advantage as in Amneris Mme
Alda's cleg Soprano was more thar
sually effe ive in O patrio mia
and in that hannting duet at the end
O teira addio Martine! afte
s Nrst moments, sang Rhadames in
a manner wh 1 proves s right to |
these lLiercic roles, and Amato lie
Amonasro epeated his former suc
esSses in the role. Henri Scott's boom- |
HE LVASSO wWas given exce ent oppo
tunit the Hifh Priest's rols and |
Basil Ruvsdael was a most impressive
King 'he voice of l.enora Sparkes
A 8 the Priestess within the temple. re-4
ealed the ability of this sterl ng sing
er as few of he ooies have done
\ida yrougnt the last apoearance
f the balle with Rosina Gall as
. a! da v n the grea pageant
Icent |
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'
ATLANTA, April 28.-—Atlanta
received the Delilah of Margarete
Ober with appreciation of her art
ard admiration of her scholarly
singing on the first night of the
opera season here, but it was net
until today that the great Ger
man contralto received her full
measure of appreciation from the
Southern music lovers, Cast as
Amneris in ““Aida,” the old Verdi
favorite, she sang as Atlanta 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 aqual
honors, both having to take re
peated curtain calle. Madame
Alda, who sang “Aida.” is an old
Atlanta favorite.. Her hundreds
of friends gave 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 tribute.
Brilliant Dinner-Dance.
Following the opera tonight. a
very brilliant dinner-dance was
given at the Druid Hills Country
Club. This event was one of the
largest of the week and was at
tended by over a thousand of so
ciety's elect divided into numer
ous small parties.
Among those entertaining were
Mr. and Mrs. H. M, Atkinson, Mr.
and Mre. William Lawson Peel,
Colonel 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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York party, consisting of Miss
Margaret Goodrich, Miss Haze!
Bliss and Miss Virginia Ireland.
In addiiion to elaborate parties
given by the foregoing; thg fol
lowing also entertained: Mr. and
Mrs. Forrest Adair, Mr. and Mrs.
Hugh Richardson, Mr., and Mrs,
W. A. Speer, Dr. and Mrs. Lewis
H. Beck, Dr. and Mrs. Floyd Mc-
Rae, Governor and Mrs. John
Marshall Slaton, Mr. and Mrs.
Kdwin Johnson, Dr. and Mrs.
Phinizy Calhoun and many athers.
Receptions at Clubs.
Friday night there will be re
ceptions at all of the clubs. Sat
urday night, following the opera,
4 number of farewell parties will
be given, those at the Capital City
Club, the Piedmont Driving Club
and Druid Hills 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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Lanes’ apo Savmvgs DEPARTMENTS
* ’
Ladies’ Accounts and
Savings Accounts Invited
UR Ladies’ Department and Savings De
partment are located in the extreme front
of the main banking room. hetween the
wo front doors. Business with erther or both
these Departments can, therefore. be transacted
with the utmost convenience and dispatch.
Interest is allowed un Savings Deposits at the
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New accounts are very respectfully invited
Atlanta National Bank
ATLANTA, GA.
ning There being two grand
opera performances on Saturday,
a matinee and night perform
ance, social activities outside of
the opera wil be argely sus
pended until the conclusion of the
light performance
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