The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-03-11
DRAMATIC AND MUSICAL.
METROPOLITAN.

1t is a long timei since the St. Paul public
has witnessed such smooth. satisfying and
adequate presentation Of romantic opera as
that given at the Metropolitan last night by
the Boston Lyric company.
Mariana" with it's abundance of melo-
dious ballads, pretty duets and effective
choruses, was the opera selected to inaugu-
rate a weeks engagement that certainly
opened auspiciously. Mariana" Is so sell
dom given these days that to the new gen.
Grafton it has the merit Of novelty as well as
Of beauty. It's score sparkles with success
sion Of musical gems.
And the Boston Lyric company contains a
number of artists who can sing these gems
and strong chorus that provides firm and
substantial musical foundation.
Miss Clara Lane appeared in the title role.
Her impersonation Of the Gitana the
embodiment of sweetness and simplicity.
Vocaly. Miss Lane was entirely satisfactory.
She possesses a mellow, musical soprano,
which occasionally develops surprising power
in the upper register, coming as it does from
a little woman. Miss Lane was the recp elt
of repeated and merited encores throughout
the performance.
In the role of Don Caesar de Bazan, Richie
Ling created a most favorable impression.
His impersonation of the rollicking reckless,
debt-incurring young nobleman was char
acterized by dash and spontaneity that
impaired the required Zest and spirit to the
role. Mr.. Lings tenor is decidedly of the
lyric quality, and rather too light at times
to be as effective as one could wish.
Perhaps the individual success of w. H.
Clark. whose splendid basso cantante was
heard in the role of Don Jose, the king
minister, the most pronounced. Vocaly.
Mr.. Clark's achievement was highly effectly e..
to t1 oil
last heard here some six years ago. in range
and volume. Its compass is extensive and
the musical quality Of the upper tones IN
usual in a basso. His singing Of I'm Happy
Moments" which ballad was written by the
composer of Mariana after he had COM
pieted the last act. was, received with pro-
longed applause. This song and the harp
song of Mariana in Act 1. were more eff
fectively interpreted than any CT the other
solos. though all n were creditably sung.
This was notably ethe case with that beau
tiful number I'm the Mansions Of the Bless
ed" which Miss Hattie Bell Laid. in the role
of Lazarillo. the armorerSs boy. sang in Act
II. Miss Ladd's mezzo-soprano has a sooth-
ing and sympathetic quality.
J. K Murray had comparatively limited
opportunities to display his resonant baritone
in the role Of King Charles. In the last act.
however. 1t was heard to good advantage
particularly in the duet with Don Caesar,
which was demanded again.
OF all the concerted numbers, the most en-
joyable were the trio in the dungeon scene
sung by Don Caesar, Don Jose and LazariIlo:
the duet between King Charles and Don
Caesar. and the final duet in the last act
between Mariana and Lazarilio, "Sainted
Mother. Guide His Footsteps" Miss Lsi a
and Miss Ladd sang this duet with admirabn
expression and musicianly TASTE
The chorus Is sufficient in numbers
and the volume of tone big and clear. The
bassos are notably strong
The opera was neatly staged. though there