The herald., 1897-10-16
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LOS ANGELES.-The Italian opera
company was greeted last night by a
house worthy Of its fullly-establish
prestige. The audience, which was not
only large but thoroughly enthusiastic,
was rewarded with grand performance
Of the brilliant opera "Ernani." 1t is one
of Verdrs earliest works, produced in
1914 and at once attaining a signal sue
cess. The lbretto is adapted from Vic
tor Hugo's tragedy of 'Hernani," The
opera is intensely dramatic throughout,
occasionally Of a 1orid nature but
abounding with thrilling passages.
The big voices OF the company-this
Is not an elegant but nevertheless an
expressive phrase--were in the cast.
There are many who may prefer the
tenor Agostini to that of Collenz and
Francesconi's baritone to Cionfs, but
each of these great artists has now been
heard in music properly adapted to
their powers. "Ernani' calls for work
Of a robust character throughout and
the full strength of the company in this
respect was represented last night.
Nina Mazzi made a temperance as
cellent voice and was heard to greater
advantage than in LA Gioconda." The
part is exceedingly exacting, but Mazzi
shone in it. Exception may again be
taken to the perpetual tremolo and
vibrato, relic of the old Italian school,
in which Mazzi profusely indulges, and
which, by the way, is also very noticea-
BILE in the singing Of Cioni, the baritone
but her performance last night stamps
her as great artist The plentiful
bravura passages were splendidly rem
dered, and in the great aria "Ernani
involami," the handsome soprano won
instant recognition.
Collenz achieved great success in the
title role, his magnificent voice pro-
ducing grand effects in the numerous
duets with Mazzi.
Don Carlos was undertaken by Cioni
in his usual conscientious and thorough
style, occasionally too robust but al
ways impressive.
A feature of the performance was the
first really important bass part during
this engagement, that Of Silva, which
was essayed by Giovanni Scolari. At
Scolari's first entrance, in the grand
solo, "Infelice! tuo Credivi." he won his
laurels, receiving vigorous encore. His
voice is not of any extraordinary capac-
ity, but it is of fine tone and he uses
it with admira BILE control to the very
best advantage.
The small parts of Giovanna Ricardo
and Yago were very satisfactorily taken
by OLYMPIA Calcagni, Masiero and Vene-
ziani.
The conspicuous feature Of "Ernani'
is found in the grand concerted finales
and the chorus effects The climax of the
opera is in the third act, closing with the
splendid sextet and chorus, 80 Sommo
Carlo" The elaboration is gradual and
tremendously effective. The voices of
the principals, we'll supported by the cho-
rus and admirably accompanied by the
orchestra, rose with thrilling effect, and
the last chord was the signal for a most
gratifying monstration; the finale be-
ing redemanded and being repeated
with great brillance.
The chorus, which was called upon for
more important work than at previous
performances, is thoroughly we'll trained
and adequate. The general tone is not
great, and the tenors are distinctly
weak, but the results, especially in the
ensembles. when balanced by the prin-
cipals were eminently satisfactory.
The orchestra is the most complete and,
the best that has ever been heard in
opera here, and the skillful director de-
serves more recognition for his excel
lent work
At the matinee today the great sue
cess, la Boheme," will be repeated
with the same cast as on Thursday even
ing. This evening the bill is the be-
loved I'll Trovatore," with Mazzi as
Leonora, Collenz as Manrico, Frances
conf as the count, and Adelina Fanton,
the great contralto who has only been
heard here once before, as Azucena.