The herald., 1897-10-19
,fsfsar.aesarsrsaaasarafs2rs2'.f.93 ~
-
+ AT THE THEATERS !
y r
.TTsS.r.T.ts.SssSs.fssS.sS..t.STT

LOS ANGELES THEATER.-It was
left to Verdi in the magnificent maturity
of his art to attempt to wed the immortal
work of Shakespeare to music. While
what is known as incidental music" has
long been accepted as convenient and
graceful in the progress of certain plays,
the stupendous task of evolving an op-
era from a Shakespearian tragedy has
been regarded by composers as insur-
mountable. Such veneration Is probably
not only admirable but discreet. For
fifteen years Verdi published nothing Of
Importance. In 1885, when 70 years Of
age. he produced "Otello." The slg-
nificance of this patience can hardly be
exaggerated.
There is another point Of view from
which the success Of Verdfs genius In
this work must be regarded. The infiu-
ence OF Wagner who was the spirit OF
a. musical renaissance, is felt In almost
every passage of "Otello." To a great
extent the theme is subordinated to the
marvellous effects of the accompani-
ment. The orchestration Of "Otello" Is
sublime art.
In opera 1t is often expedient to divorce
the eye from the ear. The dramatic ira
ditions of Shakespeare are so sacred
that this separation of the senses was
almost essential for enjoyment of last
nights performance. Truth to tell as
long as one looked at the stage there was
much that was grotesque. With the at
tention entirely devoted to the actual
music the enjoyment was supreme, and
such, after all, is the summum bonum of
opera. Perfect opera would of course
consist of excellent singing and also ex-
cellent acting. Those who look for such
must either go to Paris or paradise, and
in the former place they will often be
disappointed. The musical part of
"Otello" last night was divine, the dra-
matte part was, to put it mildly, exceed
ingly commonplace.
1t Is needless to point out the
many painful incongruities in the stage
part of "Otello" as presented last night.
Only, one would like to caution Signor
Collenz against the yellow critics of San
Francisco, who will take delight in pull
ing to pieces the ultra black face and
grotesque garb that he affects as the
Moor. Instead of the noble warrior, he
had the appearance of a negro servitor
Such errors could surely be remedied
Will case dHu tTlIllHS eApeHSe
The orchestra last night fairly bore
off the honors of the performance. With
subtle expression the composer has
caught and reflected the spirit and ac-
ton of the tragedy. The dramatic mo-
tives, the craftiness and deviltry of
Iago, the tender devotion and innocence
of Desdemona, the passion and fury of
Othello, are developed with the truest
conception and consummate art. The
orchestration of "Otello" Is an inspira-
tion and it Is surely high praise to say
that it was vividly revealed by Signor
Vallini and by those who sit beneath his
baton.
Nina Mazzi sang the part of Desde-
mona. Collenz of Othello. Cioni of Iago,
and Beatrix Franco of Emilia. The mer-
it's of their voices and of those of others
| n last nights cast have already been
discussed and extolled. Individually and
collectively they did justice to the great
music of the opera.
Tonight "Rigoletto" will be given with
Cioni in the title role, in which part he
has achieved a great reputation in Eu-
rope Signorina Vicini will sing the part
of Gilda and Agostini that of the Duke
of Mantua.
BURBANK THEATER.-The au-
diences at this house have had their
theatrical bill of fare raised from time to
time by melodrama and society drama,
but the kind they most appreciate is the
comedy drama of the farcical order and
last night was no exception to this rule,
as was well shown by the generous ap-
plause and hearty laughter which greet
ed the initiatory presentation of "The
Grey Mare" The groundwork for the plot
is taken from the short but neverthe-
less important maxim, Never tell a lie"
John Maxwelrs fiancee is given to pre-
varicating, and thinking that like should
cure like, John invents a little story
about having been out riding on a gray
mare. But it happens that his young
cousin, whose guardian he is has really
been out on gray mare and eloped
with the daughter of a French count.
The escapades of the younger man get
put upon his guardian and the many
predicaments he finds himself in cause
great deal of merriment, but every
thing is finally successfully Strengthened
out by the return of the young couple,
and all piously resolve never to tell any
more lies.
The part of John Maxwell was ably
filled by Charles Hallock. AS his
brother and assistant, Guy Bates Post
appeared to advantage and made the
most of the opportunity the part gave
him for displaying his ability as piano
player, in which he easily excels. Charles
Clary as Algy Maxwell, the real cause of
all the trouble, was very energetic; he
also gave very good character sketch
as the stable keeper. If he would speak
a little slower his enuncia ton would be
better and his words would be more
readily understood. II. d. Blakemore
has but little to do this week, but suc-
ceeded in bringing out all there was in
the part of the irascible Frenchman. His
makeup was very good. The parts taken
by Harry f. Adams Maurice O'Connor
and Kinnie Mcleod were all conscen-
tiously filled. Nan Miffiin displayed abil-
ty and energy in the rather shrewish
part of Julia Maxwell Helen Henry
made a genuine hit as Johns fiancee,
the part being one admirably suited to
her talents. AS Helene de Chevrelle, Ida
Banning had little to do or say but she
looked pretty as a peach and was evil
hi fo a