The herald., 1897-10-18
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LOS ANGELES THEATER-The fact
that there was not a vacant seat in this
theater on Saturday night and that the
large audience went home delighted,
should be the best guarantee for very
improved attendance at the opera this
week. Verdi's immortal I'll Trovatore"
was magnificently rendered, the great
company of musicians revealing the
brilliance and beauty of the work in all
it's fullness. All the old favorite num-
bers were welcomed with enthusiasm,
each of the principals, Mazzi as Leonora,
Collenz as Manrico, Cioni as di Luna and
Fanton as Azucena, enjoying individual
triumphs. The familiar anvil Chorus"
the counts grand aria I'll balen del sue"
Manrico's "Di quella pira," the zenith of
tenors, the Miserere and the exquisite
duet, Isl la Stanchezza," were rewarded
with jealous demonstrations. The per-
formance was in every sense memoir
able one and set the seal of success upon
the company's engagement here. The
most perfect feature of the notable rem
dition was the singing of the great con-
tralto, Adelina Fanton. whose voice is
splendidly rich and pure and whose
method is faultless. Among SO many
particular planet. but Fanton's gift and
art are of the very highest order and
it will be surprising, indeed, If she es-
capes the United States without the most
flattering offers. Unfortunately her ap-
pearances in this engagement have been
limited. Her Laura was the most en-
joyable feature of La Gioconda," her
Azucena has never been approached in
4 xr-;1 1oo II for I'd IN n or
appearance as Lola in "Cavalleria Rusti-
cana" next Wednesday evening.
Tonight these great eXponents Of
Verdi's works will give "Othello," COM
pleted in 1886 after long interval and
the last but one C'Falstaff') of the long
and brilliant series The libretto close
ly follows Shakespeare's tragedy and
was prepared by Arrigo Boito,
who is best known to fame as the COM
poser of "Mephistofele.
A brief sketch of the musical features
of the opera may be of interest. There
is no overture, but after few vigorous
bars of prelude the scene opens with
tempestuous and very striking descrip-
ton of a sea storm by the orchestra with
the choruSeS of sailors and Cyprus ma
tives rising above it and expressing al
ternate hope and terror. The storm
dies away, which is expressed in impress
sve choral phrases, ending pianissimo
bringing song is introduced for Iago,
with rollicking responses by the chorus
The quarrel is graphically dealt with,
and the act comes to close with a beau
tiful love duet between Othello and Des-
demora.
lagos malignity is vividly described in
the opening of the second act and his
mock Credo follows. A furious duet with
Othello, a graceful nlandoMnata and
mariners chorus afford great contrasts.
There is then a grand dramatic quar-
tet, a stirring melody by Othello and the
act closes with another tumultuous duet
between Othello and Iago
The third act opens with beautiful
duet, Othello and Desdemona. Then a
sad monologue by Othello, the "hand-
kerchief trio" between Iago, Othello
and Cassie, and brilliant finale. Othello
strikes Desdemona. who pleads for
mercy in a tender aria which leads to a
strong sextet.
A touching recitative between Desde-
mona and Emilia opens the fourth act,
which is full of musical beauty, and Des-
demona then sings the "Willow Song"
charming and characteristic melody.
After EmiMa's retirement Desdemona
sings an Ave Maria" Othello steals in
and, after a hurried dialogue, STILES her,
then kills himself, his last words being
a repetition of those in the duet. The
orchestral effects throughout the opera
are surprisingly grand and should COM
mand the attention especially in the last
act.
The cast will be: Collenz as Othello,
Cioni as Iago, Linda Montanari as Des-
demona and Beatrice Franco as Emilia.