The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1897-12-26
THE GRAND OPERA SEASON.


LA Boheme.-
Sr.goo..c. poet Sig Giuseppe Agcstini
schaura-d. musician - -.
e.nos f,-- ;.-s s.E, L.sigi Francescon.
81 81 49,. .senoS1ta Linda Mon ana-i
Marceilo. painter ........ Sic CeSare C,sors
Coiesne, philosopher Sig Victorio sssrar5i
Alea0o-o. counsel Of estates ...
Sig. Antonio Fssnaasals
Mhs-<ta .-.----..-SeEe-ita Cleopatra Stcsas
S rarpsgEa .--:......---sig. A-istsfie Masie-o
Students, burgers commercial merchants.
Eloesstss. vendors. soldiers. sing
ers walters. etc.
Seattle was treated last night 20 An W.
usual performance, tire occasion being TIE
tIrSt appearance Il this city 81 the Del
Sonte Grand italian Opera Company IN
FGcclri and G2acosa's romantic p~o6uc-
ton la Bohsme'' The time In which
the scenes are laid IS a reflex Of that
which preceded Paris as Da MasIrser
wrote % i twenty years TIE opera
Is about two years cid and the sole
right TO sing Il lies with the Ia Conte
company. which holds the copyright
Il IS the latest specimen ~ 1he new
school OF Italian composition, and marks
Al epoch in artistic advancement. IL
really suggests. ar a time when musical
creation seemed almost at sfandsriii a
FeFItaole renaissance III the realm Of
tone. similar 20 that new departure in color
anu The use d pigments 10 which natrr-
ers now apply the same htgh-sounaing
ute There IS such a fascination asgat
THIS opera that. although the enthusiasm
among musicians and all persons with
musical instincts Is general. one is really
puzzled to anaIyZe the foundation and
cause of this all-pervading feeling.
La Bo1eTne" is not heavy work al
though II IS by no means an easy one 20
perform, so its almost perfect rendition,
u,
the credit OF their ability II is so thor
ougnly new that old fogies. possessing
only a palate for tunes" wonder at il a
DIT at first Fer its effects are produced
rather by harmories than by r.,esoaEc
forms. Another disadvantage with which
II has to contend Is its lack Of sartorsal
spiendor- Grand opera IN dress coats
would be an .mpossibility; at least. 1t Is
yet 10 be attempted. Verbs La Trayi-
alta had TO be anachronized a hundred
years TO avoid the prosy toggery OF ?
recent day. and TN BaiIof' dresses the
Boston Puritans like European courtiers
o. an anterior epoch.
The impression produced by the fire.
scene Of La Boheme," In q drsary.
saualid attic. occupied by couple OF art
ists-Wno carsy or disjointed chattering
duo over their frigid condition. and finally.
instead OF burning a decrepit chair. con-
sign rejected manuscript to the empty
sIaae' AZ Waich 10 warm their fiugerS-is
disappointing. It does not seem like grand
opera, and one wonders when he will get
from the husks to the kernel But the
gems begin to glisten when the tenor left
alone by his companions, receives a tin,id
can from the poor flower girl Mimi who
craving light for her candle. fain,s, but.
being gently restored, an acquaintance Is
formed between the girl ard young poet.
VINO tell each other their simple stories In
couple of arias so beautiful and so dis
tinctiy unusual that the auditor Is carried
away In transport Of delighted sympathy
with the poor little humanities, and the
humorous pathos OF the scene
Inc second scene orens In the Bohemian
care or the Latin quarter. II is Christmas
eve, and the place is crowded with SOL
diers. vendors. pleasure seekers and pleas
ure goers- The prelude gives the idea 70
perfection. Where the music of the first
act is light and running. and so entirely
In keeping with the scene that ii seems
part or 1t rather than feature by itself.
the music OF the second act is fun OF color
the color Of place and occasion. II Is at
this fiesta la Boheme that Musette Is in
troduced, and sings waltz song that.
aside from the opera. is graceful little
gem In Itself
Act three introduce. the marketmen and
workmen OF the city with interesting frag-
"'~i4-S Va "cSIiihSiSe MUSIC. Inc musical
gems OF this act are rare ones The duo
between Mimi. sad. tired and wanting her
Jealous lover. and Marcello. the practical
painter, who advises her to leave her fcur-
nalist. Is beautifully and strangely deyel-
oped, while the later duo between Rudo,fo
and Mimi is marked by tenderness. The
treatment OF this scene and following ones
Is superb. and even unique. In grand opera.
The melodies are beautiful and fun Of ex
preston. the writing Is inspired and the
attenuation OF QUO ard quartette Is odd.
The last scene divides itself into two narts.
Ine hrst is all gay, vivacious. rhythmic;
the last. the death OF Mimi. Is sad and
moving. 1t IS in this part that Puccini
shows his greatest sentiment and most
exquisite art Tie contrast between gaiety
and sorrow Is well worked up AS the
jollity OF the dancing Boher1ians is ar
rested by the sudden entrance Of Nusetta
the dying Mimi is seen crouching on the
floor. The music changes its tone 10 one
or tender sorrow. and TO the end Of the
act. the writing is In superb svmnathy
with the incidents OF one OF the most pow
erfni death scenes known TO grand onara
Puccini cannot be looked on as an eDooh
maker; there is no strict originality but he
Is a sonester. who has produced a work
which in its music Is as passionate and
human as the story which II illustrates
Tonight the hill is 70 he ''CavalIsrta Rus-
ttcana" and ''n Pagiaci"