The Superior times. [volume] (Superior, Wis.) 1870-1912, 1898-02-26
ADJUSTMENTS.
The Del COnte Grand Italian Opera
Company.
Tho MnsicAi Event of the Seasen at the
Grand opera House Feb. 2Sth In
La BOheme."

The Minneapolis Journal Of Feb I'D says:
There is no more interesting phase of
the musical life and thought of the day
than the new renaissance in Italian OPP
era. Mascagni IL his immortal Cav.
alIeria Rusticana." first gave evidence
OF the virilIty and passion that was to
characterize the new school. He cut
loose from the pendahtic conventionali-
ties of Verdi, Donizetti, Bizet and the
other masters of the old school. His
music was fresh from the people. He
sought his themes not among the affect
ed, oyer-cultured. degenerate nobility,
nor even in the repressed life of the
staid bourgeois, but among the very
peasaEtry close to mother earth where
life Is simple, passionate terrible. Mas
cagni' s message was that OF new evan
gel OF opera and though he has not
since wortEily repeated it, there have
arisen disciples who speak his language
powerfully. Such are Leoncavallo and
Puccini. 1t was wonderful compost
ton of the latter to which fortunate
audience at the Metropolitan listened
last night and the revelation, made with
the greatest simplicity and the most
charming virtuoslty, was such as to
arouse the utmost enthusiasm. The
theme of LA Boheme'' is as simple AS
earth. NONE of the complex motives or
overretned, self-analyzing philosophy
Of modern life ID permitted to impede
tide of human passion that sweeps thro'
the action. Nor is the theme neceSsar-
lily or completely tragic. 1t Is rather
realistic-a story of life in the Latin
Quarter, story with a tragic ending, 1t
is true. but yet story conyinclngly
faithful in details lighted up only DC
casionally and ftfuly with the pro-
phecy of pathos. Its origin is La Vie
Boheme" Trilbyesque tale of Henri
Murger and the libretto. AS in most
Italian opera there is very little con-
certed harmony, the nearest approach
being the powerful quartet which forms
the finale OF the third act. This magni-
ficent piece of work with its lights and
shades, its mingled tragedy and come
dy, its fierce passion relieved by the
lighter play of a feeling between a CO.
quettish woman and a jealous NAH was
so srandly done that the audience de-
manded repetition Of the entire scene
LA Boheme' Is a great example Of
what may be termed realistic opera. 1t
is life painted in tone pictures.
The Del Conte company proved a
most refreshing surprise, for IN spite Of
the enthusiasm of the avant-courier,
MANY were skeptical as to the merits of
an Italian opera company direct from
Milan. Minneapolis is habitually skep-
teal in dramatic matters and, perhaps,
may be pardoned for refusing to be-
lieve it possible that Italian opera, as
produced in Milan conld be transplant
ed to the metropolitan stage. Yet that
is exactly what was done. Even
the orchestra was Italian. 1t was, in
fact, just such production as one might
expect to witness in Milan itself. The
principals are all wonderful singers.
Signor Agostini, the tenor, is an artist
of the finest perceptions and gifted
with voice that thrills and enthralls
He puts his very soul into HE music
frank. generous, warm, pulsating as it
is. How else should a stranger. singing
in Il strange tongue, set alight the en-
thusiasm of chilly Minneapolis audi
euce? So, too, with Signora Montai1ari,
the leading soprano, whose fresh, naive,
pathetic voice at the last brought tents
to the eyes of MANY who under
stood not het words. Lacking much of
the dramatic feryor Of her lover, she
vet showed the magic influence of an
expressive voice. SenOrlta Nlclnl, who
plays a soubrettish role, is as mlschiev-
Gus and as alluring az an elf A fine
baritone was that of Signnr Cioni. who
plays the opposite role. and his acting
was characterized by energy and Il fine
discretion. Signor Girardi, who plays
another of the quartet of student
friends. the philosopher. was early
seen to have a magnificent bass voice,
but not until the final act, where he de-
termines to pawn his oyerccat to succor
the dying girl. were its real dramatic
qualities revealed. The simple pathos
of that remuneration was beautifully ex-
pressed. Signor Francesconi. the fourth
Of the quartet, was quite Of a piece with
his comrades. The cast was thus emf
nently strong and evenly balanced. Its
work was satisfying, or, rather, lnsplr-
ing. La Boheme" WAS great treat.