The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-11-26
" "RIGOLETTO."
Yerdi's Opera Given to a Crowded
House at the Orpleum.

To say the attendance last evening was
large at the G. ID. Hess Opera C0mpany's
performance of this opera will not convey
an idea of the crush of auditors. The
auditorium was packed in every part, and
perhaps 0ne-third as many persons as OBJ
tanned admission were turned away from
the doors. The situation was one that de-
lighted the management. and at the same
time, prevented the singers being heard
at their very best. Like some speakers
who have more ideas than words, the au-
dtorium, for the vocalists, was "too full for
utterance." Nevertheless, we had an ex-
cellent rendering of the music, and the
leading singers acquitted themselves in all
the pretentious numbers Of the opera In R
manner 10 draw repeated plaudits from the
delighted hearers, and 10 prove. also. that
they are blessed with young, fresh and
vigorous voices, which even the obstacles
that they had to face, an immense mass of
people in place where the acoustics are
none OF the best, could not overcome.
MISS FRANCESCA GUTHRIE,
The Gilda of the distribution, distinguished
herself In all the notable scenes. First in
the interview with her father at the pension
of Giovanna, where she sings the "Quanto
Dolor" and "Quanto Affetto," and in a sub
sequent scene when the Duke, her unknown
lover. has left her, in singing the Caro-
NOmo SOiiIOpuS. LII tucSc luotduCco sHc
gave us several delicious examples Of Cobra
tura. The succeeding act was remarkable
for some vivid dramatic action between
Gilda and her father, and for the duet COM
mencing "Si Vendetta, Tremenda Ven
detta." Her strong, clear and well-balanced
voice was also heard to great advantage in
the famous quartet, bella Figia Dell
Amore," but, in a general way, we have
heard this concerted number much better
rendered.
AS THE DUKE,
Sisnor Albert Guile exerted himself to
the utmost, and knowing the fondness of an
American audience for the high G, or the Il
fiat, as the case may be-anything, in fact.
like vocal liit-hirted among the higher
notes in the upper register OF his voice In so
reckless q manner that, besides impairing
the integrity of the number itself in seeking
for the effect, he may not have much voice
left by and by if he continues the practice.
He reused the audience to enthusiasm
though, in his opening with "Questa o
Queila." and also in the old top-loftical
standby La Donna Mobile" for which
he received two encores, and although he
evidently husbanded himself for the finish
we must say he carried the aria with
graceful ease that gave nice expression 10
the subject.
THE TITLE ROLE
Was in the hands Of Mr.. William Mertens.
and he acquitted himself very creditably Of
its difficult requirements. HIS singing was
much better than his action. The jester is,
for dramatic effect supposed to be a lameter;
but Mr. Mertebs erred in increasing the
difficulty of the part by taking on too much
lameness. He could not sustain it in many
of the exciting passages of his role. When
Rigoletto is being played he will find that a
slight hrple at the beginning of the business
will go a long way, and free him from
good deal Of embarrassment when lie gets
down steadily to his work. Mr.. Mertens is
very valuable member of this troupe-a
coed lyric actor
Miss Fanny Myers as Madeline and Mr..
William Hamilton as Sparafucile did the
little work assigned them very satisfactorily.
The latter sangEhis solo, "Sparafucile mi
Nomino," with an earnestness and savage
ness of emphasis that bespoke his trade of
assassination. "Rgoletto" will be repeated
tonight.
FOR THANKSGIVING.
The company will give special prcduc-
ton of III 1rovatore " on Thursday even
ing, with Mesdames Camilla Muori and
Myers, Messrs. Packard, Mertens and Ham,
iton. together with grand concert by the
LiberatI Band. The band will also appear
at tha matiupe