The morning call., 1894-08-27
FRENCH AMATEURS.
They Give Successful Enter
tainment.

tdiIIlSnts
The heat did not keep the friends of the
Societe Franchise d'Opera Comique from
fairly we'll filling the Standard Theater
last night, and though fans and pro-
grammes waved in unison to the music in
the vain attempt 10 make milo breeze
the lack of cool air did not prevent people
from staying till the end of the entertain
ment.
The programme was an extremely va
riej one, but j. B. Perron. the director,
saw it through without any Of the tedious
waits dear to the hearts of amateurs.
After an orchestra, directed by Pro-
fessnr Martinez, had PLAYED the overture
to Les Dragons de Vllars," an unpub-
lished plav. LIE eros Lot" written by a
gentleman who mOdestly yelled his identity
under three asterlsks, was brightly acted
by >. B. Perron, Louis Pascal and Victor
Nodet, Nine. Caroline Lassale, Emele
Lassae and Eugene Lassale. A scene
from RIP Van Wrinkle" was then sung,
NJ. j. Marion especially distinguishing
himself.
The next number on the programme
was more ambitious and consisted of
selection from LA Traviata." When
amateurs essay SUCH an opera 1t would be
obviously unfair TO judge them by the
Patti standard, but judged on less exact
ing lines Miss Julie Cote was quite a sue
cess as ''Violetia." Her light, somewhat
small. voice was always pleasing, and
she used it with considerable taste and
skill. As an actress, too, she was grace
full and sympathetic. and even if she did
not-and indeed what amateur could-rise
to the tragic exlgenceS of the occasion
she never for moment forgot to be
natural and sincere. AS Georges d'Or0ei,
the heavy father who withheld his bless
ing, j. B. Perron only had success
d'aetiDnQ - praha hlU
ment weighed on his mind and anxieties
on Its account caused him to fatten 0cca-
sionally. Miss Emelie Lassale as the
maid only had few words to sing.
Portions OF the third and fourth acts of
"II Trovatore" were then sung, the first
scene being that where LeonOra has dis
carded her bridal robes for sable black,
and has long tete-a-tete with Manrico
before be goes off 20 save his mother.
Nine. Lucie FIGHTER. as Leonora, looked
quite the conventional thing, and Nj. Jean
Puchen, as the tenor, was arrayed in a
some reason, which il would have been
difficult to explain. made people
| think of Mepbistopheles. Probably, how
ever, it was on account of the extreme
| length of his neither limbs.
| Words could not do any justice to III.
| Puchen's singing. No one was surprised
when. on the entry of messenger to an :
nounce the capture of AZucena, Leonard
| fled IN terror from the scene, and there
was general feeling that he was wasting
| his powers when be drew his trusty blade
and swore with it's aid to save his mother
| from the Count de Luna. Ii the Count
had felt like the audience the tenor's
singing would have moved him more.
In the MiseIere scene Leonora had a
chance OF showing her powers. She
| proved to possess a powerful dramatic
soprano voice that was exceptionally
beautiful in the upper middle notes H.
| deed. with frst-class training to teach her
to use and not abuse her lower notes
Nine. FIGHTER would be an exec ptiona
| singer, for the voice as an instrument is
there. Marcel Perron as the Conte de
Luna was singer of whom nothing pu
good can be said. His fine resonant barry
tone was Ia admira! control, and his act.
| ing LETT nothing TO be desired.
As for the Miserere chorus, considering
all the difficulties. it was triumphantly
got through.
|