New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-12-12
ORrEO- AND "PAGLIACCI."

The fact that great changes have taken place IN
the lyric theatre in the course Of the century or
quarter or Whereabouts which has elapsed between
the composition OF Gucks "Orfeo' and Leon
cayallos 'Pagliacci' demonstrated In start
ling manner at the Metropolitan Opera House last
night when the works were yoked together
10 make holiday for a New-York audience. An
ingenious lecturer comparative anatomy IN music
might be able to point ont In the scores OF the TWO
works some interesting examples OF similarity OF
dramatic purpose. but he would have been soTey
put to 1t had he tried to make himself understood
by appeals TO last nights representations There is
an old story about q country pumpkin who sought
to pay reverence to the memory OF MS deao iather
by engaging artist TO paint his portrait. never
having seen his subject. and having no photograph
or other counterfeit preSentment TO ala n'nn' 'ne
artist found II necessary to paint the portrait our
of his inner consciousness. The pumpkin return
ing for his picture inquired with surprised ar
whether the portrat was really that OF his father.
and being informed by the thrifty artist that such
was the fact, exclaimed patheticaiiy' fu'heI, Ia
Their how YOU have changed" The CheVaiier 1iucN
would doubtless have been prompted to similar
utterance had he strolled into the opera
House last night There is much to admire ana
feel kindly toward-Giuck's music; and every ho.e
OF 1t cries against performer SO shy on
GUS and unmuscal as that wnicn nor scene
painter nor ballet master seems 70 nave the adas
s ss !. Of o al ef@ ea With gns
and Illuminated skulls che Eiyslan Fields are
built up OF painted clouds OF fearful unsaii,h,ss ILL.,,
and soiidty and their denlzens are ounuaS
angels amazcns from the kiraliy - 10
ballet dancers who tell Of the bliss within mem III
walking on their. toes. How Aris'o9ha'es "o"'
TSe reason why "orfeo" is played at the Metro
poitan is doubtless KIN time Would shst
thing different might be found Tor me pap o,c
Whv not try the Shasfer family? Mine. SELL
sang the part of Orfeo last night. ard nv ~
Signorina Colobati. the Eurydce Tne latter 20
co!orless singer the former a. we az kIow at,bsr
yar.exsted one Nine Scalchis voice mas neit re,
IMPROVED nor lost any OF Its several registers ou
she IL so confirmed favorite. and there " go ~
heartness in her manner. that she IL always "ea'1
:PakIiscc promised much in the list Of artists
get dawn FOR Il and the performance redeemed mos,
almost throughout with great spirit, ana Sisnor r
Mancinelli rnbued its orchestral part with ierv0r
that made one loath to lose any OF the music sae.
fced dozen times In the course OF the evenihs
10 the frantic applause of the ana onef
frends OF the two singers who Effected nrst AMIR
lean appearance In the opera. There we're the TENOR
De Lucia and the barytone. Ancona. poth men OF "a
higher order OF capability than any OF their COZ
leagues In the second rank OF the companys singers
much in enthusiastic praise. II Is pallld and light
In Quality though there Is a good deal OF It, But
he sings with q great deal Of earnestness and de-
claims with great deal OF eryor; and these things
70 for much In Leoncavallo's music. Signor An
coma made his success In the prologue which ne
vas compelled 10 repeat, both voice and manner
being applied with intelligent purpose TO the express
e1on Of the dramatic idea Nine. Melba sang the
pretty waltz song which In 30 incongruous an ele-