Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-05-07
THE IDEALS FAUST.
A Large Audience GreetS the First
Appearance at the Grand.
SINGING UNDER DIFFICULTIES.
The Tenor Afflicted by Troubles of Both
Throat and Pocket.
A REFUSAL 10 APPEAR AT THE LAST

The performance of Gounod's master
work, Faust" by the Boston Ideals at the
Grand Opera House last night was excep-
tionally interesting. 1t interested an un-
usually large and choice Monday night
house unril after 11:3O o'clock. 1t had been
made interesting in advance by being an
nounced as Mile. de Lussan's first
and only assumption of Mdrgheritd
in Pittsburg this season and as
the debut on our boards of new star tenor,
the Chevalier Edward Scovel.
The performance was opened by the an
nouncement that this doughty knight of the
high C's had so strained his throat on Sat
urday evening in Cleveland that the in
dulgence OF the audience must be craved on
his behalf-and it was exceedingly interest
ing to watch the manful struggle between
the tenor and his ticklish throat as the opera
progressed.
Still more interesting was it at the begin
ming of the last act, with Mdrgheritd asleep
on her pallet of straw, MephiStopheleS at the
end of his lines and the conductors baton
poised in md air-al waiting, waiting for
THE TENOR THAT NEVER CAME.
1t was interesting to hear the ensuing an
nouncement from the management, that
'sChevalier Scovel had been taken suddenly
Ill and seemed unable to finish the opera |;
but he would be able to 60 on, if at all, in
few minutes" After waiting awhile the
third interesting announcement for this
one evening was made, to the eject
that Chevalier Scovel was still too i'll to
proceed, but that Mr.. Baxter, who happened
TO be in the audience, would finish the role,
though he had not time to don any more ap-
propriate stage garment than MephiSto's big,
red cloak. That made very interesting
finale.
But the most interesting thing about this
performance was not known to the audience
at all. Mr.. Scovel, who was interviewed
after the curtain finally fell, obligingly
showed his swollen and infamed throat to
the writer in proof that he had sung at
all on this evening only with much pain
and difficulty. But he Just as obligingiy went
on to state that it was not for the sake of his
throat, but of his pocket, that he declined
to finish the opera. Manager Foster, he
stated, had omitted
THE SLIGHT FoRMALITY
of paying his salary for week or two past,
and he had gone on the stage that night
upon the express condition that a certain
sum was to be paid him before the opera
was over. As the house was a large one he
thought Manager Foster ought not to walk
of with a poeketful Of money and leave
him in the lurch, singing with much diff
Guilty and no pay.
''It is a shame" exclaimed the gallant
Chevalier. ''There are those poor chorus
girls weeks behind in their pay, crying in
the corners, but afraid to stand up for their
rights. I won't stand it, for my part. Even
if 1 can get money from other sources,
should wish to, l earn NV own living by
my own work, and I propose to get what
earn"
Manager Wilt of the Grand, stated that
he had that evening handed over to Colonel
Foster a share of the receipts more than
twice the amount that Mr.. Scovel claims
was to be paid him. Manager Foster had
left the theater by this time, and his side of
the story was not obtained.
FEATURES OF THE OPERA.
Upon the general features of the "Faust"
performance there's neither space nor need
to say much. In most respects it was a du-
plicate Of that given by the Ideals at
their holiday engagement The church
scene was given this time, though
not in a church interior as it should be
Mr.. Clark's MephiStopheleS was the same
weakened, big-voiced individual, with
very little fendishness about him except
LIE ldlS6 lnbOudblOu- MISS SldlIS
tested decided Improvement, both vocal and
dramatic, in the role of Siebel. Mr.. Mer-
tens sang Valentine we'll Mr.. Ad. Liese-
gang handled the orchestral and choral
forces carefully and effectively.
Mile de Lussan's Mdrgherita had many
points of high excellence. 1t was natural
and forceful impersonation, best in passionate
and tragic moments, though in earlier scenes
scarcely rising to the exquisitely innocent
girlishness of Goethe's conception. Vocally
her work was quite beyond reproach,
altogether delightful. Chevalier ScoVel,
taking all circumstances into account, up
held the high repute he won in Italy and
especially in his several seasons as one of
Carl Rosa's leading tenors. His acting was
easy and impassioned; he dressed and looked
the young Faust to perfection.
A frequent tendency to retard the move
ment was about the only vocal
fault not entirely attributable to his indispo-
sition. His enunciation was most satisfy
ingly clear (rare virtue in American sing
ersD his phrasing and style were eminently
artistic, and the range and quality of tone
be produced under such trying conditions
did credit to the method of his venerable
maestro, Lamperti, of Milan.