Fort Worth gazette. [volume] (Fort Worth, Tex.) 1891-1898, 1891-09-13
The Premiere of Chantaclere.

The fOllOwin" excerpts from the Kansas
City Times give an adequate idea of the
premiere of the new opera, ''Chantaclere -
the first production of genuine Western
authors. As the opera was produced by
amateurs, that portion of the criticism re-
latiUg TO their work is omitted:
The opera of 'Chantaclere.' in two acts,
music by Mir =. G.. I. Cramer and book by
Mr.. James Paddock, both Of Kansas City,
was sung for the first time on any stage at
the Coates opera house last night. The
cast. with two exceptions, was made up of
local people. Almost every number was
encored, rs seemingly becomes first produc-
tions, and vet the final curtain was down
before II O'Clock.
1t is scarcely Just TO pass Judgment upon
the work of either composer or lihrettiSt in
an opera sung by other than a professional
company of long training. Last nights
company was n good one as amateur COM
panies 90, but that is all, and that is enough
TO say that the new opera, by entirely new
and comparatively inexperienced writers.
was not adequately presented, albeit there
was some very effective individual and con-
certed effort. MIR. Cramer worked hard TO
hold his large chorus and his principal sing
ers with the orchestra, but there were
frequent variances. The chorus was I'M
usually large, the stage crowded and the
dramatic movement and the flow of the
dialogue sluggish. This made it difficult TO
secure just appreciation of the music as
composed.
The overture has an almost Wagnerian in
Production. the music being that of the
principal chorus of the opera, an invocation
entitled Hail Diana" The entire overture
was well rendered, and showed pleasing
variety and little that had a very familiar
ring. The opera developed some pretty
melodies, especially in the second act, which
mas most of the good things, unsteady
speaking. There are two or three airs that
are Strikingly reminiscent of familiar light
operas, but the score is creditably original.
The choruses show the best work of the
composer, being characterized by some rich
harmOnies and inspiring strains. The Hail
DIANA chorus is especially fine, and is used
as the second act and finale, with the fol-
lowing words:
= Hail, hail hail,
u Hail. Diana, sylvan queen!
) Hail, oh maid divine!
BoundlesS power broad domain
Re forever thincl
Thee we all give willing hearts.
Thee We give our nObleSt arts,
Thee we serve till life departs,
Hail. Diana, hail.
All hail, all hail ali hall
Mr.. Paddock has written a very good
libretto for "Chantaclere. In the hands of
experienced people there would be found a
beautiful rythmn of versification and much
brightness of dialogue. The role of the
Duke of Chantaclere is a fine comedy crea-
ton of the class that Mr.. Barnabee has
made most familiar. There is, however,
too much dependence put upon
the lines and not enough upon
the situations, and the lines are no
replete enough with humor to produce the
desired effect. So much for the material
In point of general construction the opera is
very faulty, or, as there are no rules for the
construction of an opera, perhaps it is better
TO say unsatisfactory. The curtain rises on
the full chorus, and there is no change of
picture TO the close of the act, except the
arrival of a few additional principals. There
is not enough life, action and feminine
brightness 10 the opening. In the second
act the chorus makes 4 number of en- frances
and exits, but is never sung on and off the
stage. These ragged edges would mar the
best music ever written. Fortunately most
of the faults of construction are easily
remedied.
MIR Addison Madeira, who by the way
Will sing with the Bostonians next month,
did himself much credit in creating Baron
Mouchoir. The part was written for him
and displays his splendid voice advantage
ously, and gives him scope for rapidly de-
yeloping dramatic talent.
= With more life Mr.. Legg would make a
hit by his acting as the duke. He hardly
'pretends to sing the role.
"Chantaclere' with some changes can be
made good comic opera. Both composer
and librettist deserve much credit and re-
ceived much praise They were called be-
fore the curtain at the close of the perform
ance.
The prettiest feature Of the opera is the
gavotte pastorale of the second act, danced
by four couples. 1t was several times en-
cored. but each time save the first marred
by errors.
- Border Lights
= Lillian Russell is catching bass and pick