The herald., 1898-04-24
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appearance before our public assumes the
nature Of festal occasion. Society has
evidenced its delight at the assurance of
her appearance and will be present in full
array. There is no question but what
the auditorium of our spacious theater
will contain brilliant assemblage which
shall in full measure represent the
wealth, culture and musical enthusiasm
of this city.
Melba has achieved the highest dis
tinction known to a singer: the absolute
admission from the centers Of musical
culture that she is pre-eminent mistress
of the school Of bel canto. There Is q
deep significance. In the announcement
Of her appearance here, supported by
grand opera company Of the Damrosch-
Ellis management. The principals have
been chosen from the very pick Of their
enormous musical organization, ana
they will be assisted by the complete
chorus and the membership Of the or
chestra which assisted at the presenta-
tion of grand opera under the direction
Of Damrosch- -Ellis at the Metropolitan
opera house in New York, the Auditorium
lu Chicago, the Academy Of Music In
Philadelphia and the Boston theater at
the modern Athens.
1t seems but plain justice to admit that
Melba Is embarked Is the most compre-
hensively planned project of It's chsrac-
ter we have any record of. In the days
of those royal women who formerly ruled
the world Of song, tour across the con-
tinent seemed such all appalling under
taking, and one which involved an ex-
pense Of such unusual dimensions, that a
small concert company was usually the
entire support of the principal singer.
The demands Of the time and the desire
OF Messrs. Damrosch and ELLIS to uphold
their own credit as producers Of grand
opera in Its most ambitious form, led
them to project the present tour of Melba
and her company upon scale which will
, be the standard by which the future de-
partures Of this character will be judged.
Praise of Melba Is as superfuous as
would be the gliding of the sun. En-
dowed by bounteous nature with that
rarest of beautiful gifts-a voice of price
less purity-Melba has risen to fore
most position in the realm Of music.
Whatever art could add to her wonder
full power Of song has been likewise
achieved. The history Of music, contem-
porary and med'>evfl, gives us no more
brilliant example of the perfection Of
vocal art than Melba. 1t may be held
that her former compeers-Patti. Nell
son, Gerster, Garcia, Malibran and Grisi
-equaled her in the matter OK art, for the
consensus Of criticism shows that these
song birds possessed rare excellence in
the matter Of vocalization.
But Melba-shining IN the crown of art
re 1,,ct
passed by the most gifted Of her sisters
in the matter Of technique, stands above
them in the matter of voice. The divine
the history Of song has given to this
beautiful Australian the highest place
upon the throne of melody.
1.-THE Barber Of Seville" is by all COM
parison the most appropriate work in
which the rare art of Melba can find ex-
position. and the happy chance which has
guided the fortunate operate ventures
of Messrs. Damrosch and Ellis the past
season is again in evidence in their Sc
lection of the work with which to pre-
sent Melba at her appearance in this city
1.-THE Barber of Seville is probably the
happiest product of Rossini's wonderful
creative power. While the score contains
every ulIllCully huOW II " Tie dTl VI SlIS
ing and requires a soprano of pre-emi-
nent qualification to even attempt it, it
sparkles like a brilliant with the rarest
fun. 1t is pervaded with the spirit of
healthy good humor and it places the
artists presenting this delightful chef
d'oeuvre entirely en- rapport with their
auditors.
BY one Of those peculiarly happy revo-
lutions of the kaleidoscope of judgment,
the company supporting Nine Meba con-
tains material for about as perfect cast
for this opera as musical recollection
gives record of. 1t is taken for granted
that the heroine, of course, must be i'm
bued with the spirit Of finest comedy.
1t is equally necessary for the four prin-
cipal male haracters-F'igaro, Almavi-
va, Bartolo and Baslio-to be likewise
possessed of the same spirit. In fact,
throughout the opera spirit of the
purest "comique" prevades the atmos-
phere of the stage.
In the role of Almaviva, M. Salignac
finds happy outlet for the spontaneity of
action which the character demands.
Those who remember this brilliant young
tenor's work in Carmen" his vengeful
Don Jose, with the fiery, murderous an
ger of his desperate appel to Carmen,
may expect some very good acting from
Salignac in the lighter roles. Campanari,
as Figaro, has simply put himself in
position to be the acknowledged stand
ard by which other exponents of this part
, will be criticised in the future. If rarer
example of genuine "buffo" than Car
bone recalls itself to the most astute
critic the fact has escaped the mind and
knowledge of American reviewers. Car
bone Is essentially a grand opera come
dian of the broadest type. His playing
of that most difficult of all comedy crea-
tions in grand opera, Beckmesser, in die
Meistersinger," threw all claims of the
-Wagnerites regarding the necessi-
ty of Atmosphere" to the four winds of
heaven. Carbone, as Bartolo, is a gem
in comedy. Viviani, as Basilio, brings
likewise to the part of the music teach
er an unctuous humor which Is quite In
keeping with the requirements Of the
story. Mr. Rains, young American
basso, of whom an eminent New York
critic said, "he possesses the greatest
bass voice since the days of the renowned
Carl Formes," will play Fiorello, and
Mime. Van Cauteren. a member Of the big
cast in the Abbey-Grau organization,
sustains the part of Bertha. We may
expect from Signor Creste Bimboni, who
will conduct the performance, a COM
plete vindication of his European repu-
tation is director of grand opera, a
reputation, by the Way which has hean