The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1891-01-06
THE THEATERS.
Splendid Reception of the Juch
Company at the Baldwin.
Guile and Francesca Guthrie Distinguish
Themselves in Aida "-stockwen's Tes-
timOnial-" Lord Fauntleroy."

The elite and crowded audience assembled
within the walls of the Baldwin last even
ing had delightful treat in the perform
ance of Richard Wagner's 1.-THE Flying
Dutchman," given by the Emma Juch
Grand Opera Company. Firstuighters, On
account of the extra fashionable and the
conservative nature of most of those who
are numbered in that fortunate and priyi-
legged class. are extremely reserved and
chary Of applause. For this reason San
Francisco audiences have gained the repuIa-
ton from visiting artists of being cold
and unsympathetic. But the stage condi-
tons last evening broke through this iciness
of manner, and the capability OF the singers,
the admiration of the picturesque scenery,
the pleasure derived from the yocalism and
general management of the opera, drew
forth from the most reserved sections of the
auditorium applause, warm, free and almost
constant. 1t was very pleasant to hear these
manifestations knowing they were de-
served and came from an apprecia tive
source.
THE FIRST ACT
OF The Dutchman" is one of the most i'm
IresSive of the whole three. Daland's ship
has cast anchor close to the shore; the cap
tam FRANZ Vetta) having left her for
awhile, the steersman (Will Stephens, after
singing the beautiful aria, Through
Thunder and Storm" falls asleep, and
while he slumbers the ship of the FLYING
Dutchman comes to anchor close by
without bis being aware of the
proximity of his mysterious visitor.
Meantime the storm clouds are roll
ing past in the distance. Mr.. Stephens
sang the aria very nicely, although his
V1ipn. has q rather nat hpfin nualitN--
and the opening chorus of the sailors, ''Yo-
bo-eh! Hal-lo-yoT' was full of peculiar
effects. The duet between the Dutchman
tAlr. Otto RathjenS) and Daland, in regard
TO the latter's daughter, Senta, what?
i ii Irue?' was a fine piece OF work. as
was also Da!and' song; Behold How For
tune FavoTs Thee" Mr.. Vetta is Il well
remembered singer in these parts, and his
voice seems to have improved by years and
practice.
MISS JUCH AS sENTA.
The second act discovers Senta in a large
room in Daland's house, contemplating a
portrait-R pale man, with dark beard, in
u black Spanish dress-and opens with
chorus of maidenS that might have moved
more easily. There is very dramatic scene
between Senta and Erik, the huntsman Mr..
Charles Hedmondp, who pleads for her
love. Ills part, by the way, was originally
assigned to Mr.. Pyne Clark, but he de-
cined 1t for the occasion, by the advice of
his physician. being afflicted with bad
cold. Mr.. Hedmondt sang it in the Ger
man text MI Vetta made a fine i'm
preston in this act by his singing
of Wilt Thou, My Child?" but the great
scene both lyric and dramatic, was that
between Rathjens (the Dutchman) and Miss
Juch. She recognizes in him the original of
the portrait, one who has been condemned
for sin and to save whom is her mission.
She sang the Characteristic music with ex-
preston, and in voice marked in its tones
Icy delightful freedom and fiexiblity A
unanimous recall raised the curtain a second
time on the picture of the sorrow laden
wretch embracing the feet of one whom he
wishes to be his good angel.
The music of the closing act was quite as
well sustained as that of the two acts pre-
ceding, and the acting of Miss Juch, up to
and In the final catastrophe, dramatically
vivid.
This opera, by universal request, viii be
repeated on Thursday next