The herald., 1896-09-15
Observation-Disclosures
! AT THE THERTERS ;
OBSERVATION-DISCLOSURES

LOS ANGELES THEATER.-It has
been long time since Angeleno society
has had an opportunity Of hearing Dom
izetti's dramatic and lyrical opera Lucia
di Lammermoor. The production given
by Hinrlch's Opera company last night
cannot be classified as a great musical
event, but it was very acceptable in
many essentials, for principals, chorus
and orchestra worked earnestly to
make the production a pretentious one
from a musical standpoint, and the COM
mendation accorded jealous effort must
be vouchsafed to them. Perhaps no
opera more typically presents the spirit
and splendor of the pure Italian lyric
school than does this work of the mad
composer, albeit the theme is q lugu-
brious one. The wonderful seXtet open
ing, with the duo, Chi mi frena in tai
momento, between Edgardo and Henry,
and gradually involving all the princi-
pals and ultimately the chorus, is a mar
Nelous, grandiose musical progression,
wondrously syncopated, and full of the
mystery of harmony. Then again, the
lett motif of the work revealed in the
duo, Verranno TIE, between Edgardo
and Lucia, constantly recurs, with its
appealing piangendo beauty, has always
been held as a melodic gem. The or
chestration is exacting and demands
perfect light and shade and colorature.
TO begin with the foundation, the
musical director, Carl Martens, who to-
day ranks with the formeost three or
chestral leaders in America. had his
forces well in hand and while it was ap-
parent that the strings could havs been
stronger and that the brass betimes was
uncertain, yet they felt the inspiration
of the leader and are entitled to credit
for satisfactory effort. The chorus is
OF fair size, and, what is more TO the
point, 1t has volume and good quality.
They lack, as most choruSes do, in ac~
tion, and once, in the wedding contract
scene, were slow in attack.
Now as to the principals. Signor Fer
nando Michelena as Lord Edgar. scored
the triumph of the evening. His voice
has mellowed and it's pure lyrical quail
ity was never shown to better advan-
tage here than last evening. 1t was full
of passion, fire, feeling, sympathy and
in the denunciation of the faithless be-
trothed there was strident dramatic i'm
pulse and fervor. His singing of the
cavatina, "Oh, Dio, Perdona." was
mastery effort and fully enthused the
audience, giving the requisite artistic
stroke to the superb finale
Nine. Natali as Lucia made her most
notable triumphs by reason of her splen-
did technique and the remarkable dra-
matte quality of her voice. While it is
true that She revealed unexpected
deeps of sympathy and lyrical suavity
in her singing of the cavatina, I'll dolce
suono, micolpi di sua voce." in the mad
scene, still her laurels must rest on the
dramatic power of her singing.
Mr.. De Vries as Henry Ashton gave a
superb musical characterization. His
voice is rich and vibrant with true SYM
pathetic forcefulness. In fact, we car
recall but few of recent years who have
given such a strong presentment music
ally of this role. Miss Irene Null as
Alice, also is deserving of special men,
tion for the highly acceptable manner in
which she sang the music of the role. and
Mr.. Abramoff could not be improved on
as Raymond. In closing it gives us
pleasure to say that the principals
achieved a genuine triumph in the rem
dition of the great sextette. 1t was most
admirably sung. Taking the company
as a whole onr opera -goers have a rich
feast in store for them this week. To-
night Rigoletto will be the bill, with
change of principals.
o..
ODPHEUM.-A splendid program that
fairly sparkled with bright novelties
greeted by a splendid audience which