Evening star., 1896-03-07
AMUSEMENTS.

Aliens Grand Opera Hcuse.-Tne condi-
tons were favorable to an occasion of rare
musical merit q Aliens Grand Opera House
last night. The singers were In fit physical
condition and docile in disposition. and the
splendid musical setting which Gounod has
given the immortal tragedy of Romeo and
Juliet" shone resplendent, so far as it de-
pended on the performances Of the de
Reszkes, Melba. Plancon and Mile. Bauer
n,eister. There was a commendable eff
fort to rise i to the scenic demands
for an occasion Of this kind in the
balcony scene but outside of that the stage
equipments were shabby, both as to scenery
and costumes. The charm woven by the
sweet and pliable yet virile voice of de
Reszke, and the exquisite Nocalization Of
Melba is SO deep that 1t is a pity it should
be disturbed by the lapses from 1deality
which are allowed to occur. In an organiZa-
ton of this magnitude there was no excuse
for allowing the duel between Tybalt and
MercutiO to be performed by men whose
know. iSe Of fencing was so slight that the
scene became ludicrous interruption. 1t
was an injustice to Miss Clara Hunt to per-
nit her to invite comparison by attempting
the rather ambitious solo which falls to the
share of Stephano.
The singing Of Melba, the de Reszkes and
Plancon was all that could be desired.
They were all in excellent voice and inter-
preted their several roles in such man.
ner as to arouse the greatest enthusiasm.
The Well-known waltz song in the first act
gave Mme Melba the first opportunity to
show her audience what she was really
capable of, and she completely captivated
her hearers by the purity of her tones,
and the artistic finish Of her execution.
There was perhaps coldness in the be-
'ginnins. but that was possibly more of an
impression than fact. Her voice has not
that sympathetic quality that thrills the
heart. but it Is a perfect organ, the tones
being true and round, and uttered with
distlnctness that is as charming as 1t is
rare. The fex;bility of her voice Is some
thing marvellous and she sings with perfect
ease. Last evening she showed warmth
OF acting that was unexpected, and in the
scenes with Romeo as well as those with
her father and the Friar, she exhibited pos
ltlve dramatic power. Jean de Reszke de-
serves all the praise that has been ac-
corded him. True. his voice is not tenor
di grazia. and its baritone quality predom-
mates. but 1t is forceful, ringing thrilling
In Its intensity and under perfect control
The Intelligence that dominates that voice
ls OF nigh order, and Jean de Reszke is
an actor of excellent ability. He is easily
the nnest tenor that has been heard in
many years, and his performance of Romeo
was one that will long be remembered
Edouard de Reszke is even better than his
brother. His voice is full. rich. resonant,
perfect In Its timbre. and Of a range that
IS remarkable. He lifted the part of the
frlar into great prominence by his digni-
..Sa DSdIAAS ana Impressive delivery, and
the quartet in the cell scene between the
oe Reszkes Melba and Mile. Bauermeister
was an exquisite bit Of work. No such
voice as Edouard de Reszkes has been
line Lucca: 1t is to be hoped that next
year he will sing Mephistopheles. Marcel,
or some role where his magnificent organ
can hnd full scope for its powers.
NJ. Plancon made a noble-looking Capu-
let. and gave to that part an artistic sue
cess tnat 1T rarely has.
Even with its imperfections. the per-
1ormance, as whole. was one Of the most
city. and the immense audience was moved
10 en- enthusiasm rarely exhibited by Wash
1ngton audiences. Again and again were the
principals recalled and loaded with flowers.
dis latest work., "Falstaff," giving Maurel
knight. rf 70,
Bernhardt- Surely nel Washington is favored
OF the musec during this supposedly solemn
and penitential Eentsn season. The Italian
opera will have but ceased to echo through
the coulisses OF the Allen Grand Opera
House when that temple Of Thespis will re-
sound to the velvety accents of Madame
Sara Bernhardt Surely she is the greatest
exemplar Of the truth of the adage, art
knows no language nor country" All ma
oonS appreciate that artistic perfection
which Is embodted In her unique personai
ty as highly as do the French people from
whom she Is spiungS and whose lang lage
is the only vehicle (which she utilizes in
playing upon the human heart. There is
but one Bernhardt, and there has never
been but one. She combines in her own
personality all the Qualities which sepa-
rately have suff1eed to make other great ar
lists famous. Madame Bernhardt's reper-
tore tore this season contains three entire nov
eltfes The most important, because the
most novel, of these Is the poem-drama,
"izeyl" that semi-barbaric versical tragedy
which Armand sylvestre and Eugene Nor
and wrote especially for madame, and
which she produced originally at her own
tneater. de la Renaissance, in Paris. "Izeyl''
Is weird affair, which introduces much of
oriental mysticism an which ranges in its
stcfy through nearly the entire gamut Of hu-
man passions. The scene Is laid in the
orient: time. SIX centuries before Christ.
"Magda" is another play new to America
which the Bernhardt will present. It is a
transcription in French of Hermann Suder-
mann's much-discussed German problem
drama, called in the original "Heimath."
Asmonda," written especially for Bern
hardt by Victorien Sardou. and previously
seen here tn its English dress, Is the third