Washington standard. [volume] (Olympia, Wash. Territory) 1860-1921, 1895-05-03
What the Oreg0nian Thinks of IL.
portland Oregonidn, .AprH 21.)

A very large audience was present at
the Marquam Grand last night to wit
ness the first presentation in this city of
De Koven and Smiths romantic comic
opera, 1.-THE Fencing Master" 1t was
given most enthusiastic Endorsement by
the assemblage, and attested the high
favor with which the Whitney opera
company was received in its first appear
ance here. First-class opera has always
been popular in this city, and, as - The
Fencing Master" is the first theatrical
attraction of the post-Lenten season, So
ciety and the patrons of good music gen.
orally. turned out in such numbers that
the theater was filled to overlooking.
Before the curtain was drawn for the
first act, the standing-room only" sign
was displayed at the entrance, and a
finer audience could not be desired by
the most exacting manager. 1t was a
fashionable gathering, too, and many
handsome spring gowns and bonnets
were displayed in the boxes, parquet,
dress circle and balcony. The audience,
however, was not too fashionable to
warm up and show by appropriate dem
onstration its appreciation OF the opera.
Not since the Bostonians presented
Robin Hood" in this city, has so salts
factory performance OF light opera been
given here. The Fencing Master" is
by the same authors. In adding it to
the repertoire of American comic operas,
De Koven and Smith have placed before
the musical world most charming crea-
ton. The opera deals with the adven-
lures of Fortunio, a banished heir to
the dukedom of Milan. Fortunio is ac-
companied on one of his adventures by
Francesca, the daughter of the fencing
master of Milan. who is brought up as a
boy, and who is skilled in all the manly
accomplishments, particularly in fenc-
ing. Francesca is devoted to Fortunio,
who she fears is falling in love with Fill
lipa, the daughter of the usurping duke,
and only betrays her sex when conceal
ment becomes no longer possible. They
fight duel, Fortunio still believing
Francesca to be a man, and it is then
I that the truth is known. Up to this time
Fortunio imagines himself in love with
| Fillipa, but his eyes are open to the
great love of his comrade, and the story
ends in the conventional way. The
scene of the opera is brilliant and con-
sists principally of melodious and catchy
waltz music, with fine choruses and
tuneful solos. The opera is produced in
a most elaborate manner, the costumes
and scenery being particularly fine.
The general ensemble is altogether eff
fective.
The central figure of the opera is Miss
Dorothy Morton, the successor of Marie
Tempest, in the role of Francesca. She
had been heralded as singer of more
than passing note and expectation was
more than justified She has particu-
/ ly fine voice. 1t is so sweet and melod-
ious that an audience will never tire OF
hearing it. Miss Morton cannot only
sing well, but she is pretty in face and
form and her voice is brilliant in quality
and cultivation. From the moment She
tripped upon the stage, attired in a
charming costume which displayed her
exquisite form to perfection, she was
voted Il success, and, when she began &c
sing and her clear soprano filled the au'
ditorium, every one was ready TO JOIN IN
enthusiastic appreciation.
Miss Morton is given excellent sup
port by artists in the principal roles and
a splendid chorus and capable orchestra
The comedians. Oscar Girard and A. NJ
Holbrook, as Pasquino and the usurp
ing duke, respectively, furnish world
of amusement; Bertha Bayliss, the sec.
ond soprano, as Fillipa, is very pleasing
and has a rich, well-cultivated voice
William Stevens, the tenor, as Guide
MalespinO, won plaudits in a previous
visit to this city with Emma Juch, and