The morning times., 1896-03-08
CLOSED WITH 'FALsTAFF"
Maurel as the knight in verdi's
Lyric Comedy
"AIDA" AT The MATINEE
House That Might Have Been Bet
ter-Both Operas Were Sung in IA
Way That win Make Their Rendi-
ton Memorable Here.

The all too brief season OF grand opera
came TO an end last night. 1t didn't go out
in blaze of glory, though tue finale was
the most inspiring portion OF the last
performance.
Glory has II regular way of attaching
itself TO lofty subjects, deep emotions,
splendid achievements, extensive balets,
big choruses, gorGeousness of costumes,
snowy solos, celebrities, and above all to
crowded auditoriums.
Verdi's ''Falstafr' was the diversion pre-
scented last night, and only half house
came to hear il. 1t is what LiDrettist BOisto
has accurately designated it, merely lyric
comedy. Until the very end scarcely a
dozen people are on the stage. Then the
stage fills up for the wedding travesty,
and for a moment there is sumptuous
plethora Of color, motion and tone.
The musicians have proven themselves
very reyerent with Shakespeare. This
second example within Il week or work
OF his being set to music, gives q faithful
reproduction OF the characters and scenes
in the original Verdi has infused rare
degree of humor into his score with much
the same method, though not the same ef-
fect, that Wagner has taught.
SINGING WAS SUBORDINATED.
Throughout the comedy was acted with
vivacity and farcical skill. There were,
however, no musical passages OF particular
strength. To Campanari as Master Ford
was given an impassioned climax. which he
sang with splendid effect, and there were
int resting fragments for Falstaff.
The main interest attached, of course to
the performance OF the fat knight by
Victor Maurel, as Verdi had selected him
to create the role when IL was first given
iD La Scala, Milan. He makes OF 1t a
superb piece OF character acting apart
from the vocal performance.
AS matter of fact the singing is at all
times subsidiary ia the action. There was
continued evidence OF a fine basso voice,
but the desired passage wherein II should
SHINE forth in it's strength did not come, and
Naurel must remain In memory, by virtue
of last nights performance, as better
actor than singer.
Next In interest was the performance OF
Dame Quickly by Sofia Scalchi. In the
natural order OF TthFags ii comes that ali
mortals must age. and popular pets are
no exception and Sfalchl has been pet
for a long time now.
SCALCHI As DAME QUICKLY.
She is aging ahti her voice IL aging with
her. But both are lsuccumbing TO years
most gracefully. There Is TO harsh =
ness, no weakness, no unpeaSa ntnesS.
in this wonderful organ II simply mel
hOws with maturity. 1t is still won
drous sweet 10 listen to.
Perhaps II was q fancy. but some OF her
tones suggested the low mellow chanting
notes OF Yvette Guiibert made so attract
i've.
The balance OF the cast. ia spite OF a
deal OF lard work really hsd little coca
sion for vocal display. The music was
at all times explanatory and accessory
TO action Of the comedy.
Mile. Lola Beeth made her local debut
and ng the loveiotn Mistress Ann. Signor
Cremonini was the Fenton. Nine.
Frances Sayilie as Mistress Ford and Mile.
Kitzu as Mistress Page. were the two merry
wives of Windsor. The small parts were
well taken.
The orchestra rendered intelligent as
sistaHce and was more in evidence than
at any previous performance. The stage
mana geInent in the searching scene and
in Windsor Forest was exceptionally
creditable Everything was played presto
as became the Datrle of the comedy.