Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-05-26
AT A SPANISH OPERA.
The Kind of Music That Satisfies the
Arist0cratS of Cuba
NOT PLEASING TO AMERICANS.
A Theater Where Everything, From Co.'S
tunes to Chorus Girls,
BELONGS TO REMOTE ANTIQUITY
rcoRnrsroNDENcr OF THE D1srArcn.

HAVANA, May 11.-According to the
guide books, the Tacon Theater, of Havana,
is not only one of the largest and best ven
tilated in the world, but is devoted to the
production of the finest italian and French
operas. May I be permitted to remark
that this is but an illustration of the de-
lusive powers of guide book? Considering
the information authentic, and worthy of
being relied upon, went, heard, doubt
ed. The theater was large and we'll venti-
lated-so far, so good. When it came to the
performance, however, I was led to believe
that the compiler OF the book must have
stood in with the management.
The edifce is one of the most magnificent
in Havana. 1t may be compared, in point
of size, with the Scala, of Milan. Four
thousand spectators may be comfortably
seated. The division of the house is SINH
lar to that adopted by most of the Eu-
ropean theaters-stalls, boxes, galleries and
an orchestra. The lunetas Orchestra seats)
are used by the multitude. The Spanish
ladies and families of rank always occupy
the "palcos," or stalls. As in Europe,
everyone is in full dress. There is nothing
of monotony or uniformity in the audience
seen in the Havana theaters.
AN OLD WORLD SCENE.
Here the Spanish women, the octoroons,
the mulattoes, the soldiers, the aristocrats,
each clothed in an unique and picturesque
manner, make one think the world has gone
back 100 years, or that he is in Spain, wit
Messing carnival. The price of admission
is reasonable-that is, for Cuba. Cuba is
the home of extortion. Otherwise it would
be chosen by our ex-bank cashiers for the
place of their settlement. I paid 81 30 in
Spanish paper. about 81 in our money, and
was permitted to walk in. The interior of
the theater looked bare and bleak. Cane
seated chairs take the place of the luxurious
ones in use in our theaters, and is observ-
able throughout Cuba, neither hangings nor
draperies are seen.
The opera had begun. When my vision
had become accustomed to the imperfectly
lighted auditorium, away off in the distance
saw that something was going on. AL
most in shadow figures were moving. Upon
closer inspection detected an appearance
OF singing. Yes, 1 was sure of it. I act
ually heard notes that might have been
some distant connection of the musical
family. The singers were original in their
Interpretation OF the opera. learned when
I got home that had heard Spanish YER
sion of the "MaScotte" never recognized
it, not even the best known airs. From this
You can see how perfectly the score must
have been adhered to. 1t was a burlesque
burlesqued.
ANCIENT STAGE REALITIES.
The women certainly were the biggest
part of the show. They represented each
about 200 pounds of Cuban talent (?). The
Bettina weighed about 1S0, and did not i'm
bue the part with the coyness and verve
it demanded. Her singing, as indeed the
singing of all, resembled that of variety
and concert hall favorites. Had her figure
possessed the thin element of her voice, she
might have given more balanced rendi-
tion of her part. Her execution was de-
cidedly through her nose, and when she
came to a high note, t. the attainment of
which she felt incompetent, she simply
substituted a kick or a wink, and the
audience received it most graciously. The
Cubans enjoy everything. They applaud
and shout and cry "Vulva uistedP' (come
back) to show their appreciation of singing
so bad that it would not be tolerated any
where in the States, even at the concert OF
very bad circus.
The Bettina as we'll as the chorus generally
would bring large prices in New York at
sale of antiquities. Had Ponce de Leon made
the acquaintance of these artistes, he would
never have sought for the fountain Of i'm
mortal youth. The search had been made,
evidently, and a Cuban chorus were the
lucky finders. These women are veritable
companions of She, though they have not re-
tanned their pristine freshness, as that mys-
tical and veii-shrouded exaggeration is said
to have done.
A PECULIAR PIPPo.
These specimens are indigenous to the
Cuban soil A few of them have escaped to
our land, where they may be seen in beauty
shows, ballets and Roman populaees in the
tragedies of Shakespeare. Unfortunately
their voices had grown old with them. Many
quavers were detected not in the original
composition. Their costumes, too, shared in
the general decay. The only wooden goods I
saw in Cuba saw on the stage of the Tacon
Theater. The moths, as is their custom, had
chosen them for winter quarters. The gowns
looked as though they might have extended
a welcome to Columbus upon his arrival in
this country-that is, if clothes were affected
at this early date. Ny historic information
is little vague on this point. Pippo could
not be said to be immense either in size,
voice or in the conception of his part. He
was less than five feet in height, with voice
correspondingly and correctly matched.
His feet and waist were very small, and I
wondered how he had the effrontery to take
so large a contract upon such very small
hands. Had he dropped cent in one of
the conveniently placed weighing machines,
- 4 Larv So Il,
The Havanos evidently held him in high
esteem, for his entrance was hailed with
shouts of "Siga usted' (go on). The
clangor increased until it reminded one of
the Stock Exchange upon some unexpected
rise in the market.
AN EXCITED FUNCTIoNARY.
The height of Cuban operatic triumph
was reached when Bettina and Pippo
walked up to the feeble footlights to sing
what 1 afterward learned was "The Gobbie
Duet" Bettina's method of locomotion
may be likened to the movement of darkey
carrying q bale of cotton along a wharf.
Pippo's look of importance was indicative
of his size and the popularity he enjoyed.
The tender portions would have been most
excellent had the accompaniment been left
out; the love making was very pretty, but
the sight of that big, adipose Bettind re-
ceiving the adulation OF that Insignificant,
attenuated Pippo, to my mind savored
something of the pathetic.
In box to my right observed Madam
Sadie Martinot, the queen of opera boufe
in America. She was exquisitely dressed,
and could not help wishing that she might
be prevailed upon to step from the box to
the stage and show these Cubans what opera
bouffe really was. 1 had but recently heard
ber sing the role of Bettind at Amberg's
Theater, in New York, and the comparison
was all the greater on this account After
a half hours entertainment, and at the
close OF the first act, during which the popu-
lar members of the company had received
ovations and the unpopular ones had been