The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19
MELBA AS ROSINA.

then you will notice that the largest ap-
plause is given to the interpretations.
There are gems in the Rossini music
gems graceful, difficult and comic, and
a large measure of melodic satire; but
the pages and pages of colloquial pas
sages, semi-recitative in character, are
deadly dull and absolutely painful to an
English speaking audience. There were
times yesterday when the whole audi
ence seemed to sleep. The first curtain
went down to no applause at all and
the handful of men in the back rows
filed out mOurnfully for their cigarettes
and consolation.
The truth is that the farce around
which ROssini's music is woven offers
little fun to the modern palate. We
have better books and as little horse
play in the worst comic operas that
are builded here in America. The plot
of 1.-THE Barber" is hopelessly hopeful;
the dialogue even when you have mas
tered the Italian text, is far from bril-
liant; the situations are banal and
slow. Horse play of a kind unknown
to the modern stage-horse play in
which the game of "tag" and the
spanking of sundry gentlemen with the
fiat of a sword are potent features-is
the only hope. And even this, with
the best regulated cast, is not always
a success.
So, after all, it comes down to the
matter of music and the singing. No
one could find fault with the acting
yesterday afternoon. 1t was indus
trious, incessant. But it was only the
singing that counted, and not all of
that, for at least half of the music with
it's thin. trickling orchestration, is mo-
notonous and meaningless. THE Bar
Der of Seville" sawed off to vaudeville
dimensions, would. I dare say, make a
lively entertainment; but in it's entire
ty there is too much for a good joke.
Melba's Rosina is not new to San
Francisco. We heard it on that me-
morable night when war with Spain
was declared and the Spanish Rosina
introduced "The Star-spangled Banner"
in the music lesson scene, and the au-
dience went daft with enthusiasm. So
Media, as you already know, is very
good in this part very alert and girlish
AS there is only one other female char
acter, and that a subsidiary one, Rosina
stands little chance of becoming tire
some She shines nearly all the time
makes her very playful and very sim
pie. She seems to enjoy the irresponsi-
bility of the part. She acts with glee
and she sings the embroidered music
apparently with the artlessness of a
canary. Her una voce POGO pa" was Of
course faultless, and in the music les
son, where everything is ad lib, she
ranged from Lucias mad frills to the
"Suwanee River" She sang no less
than five pieces in this scene. so great
was the applause. I'm Vano" and
''Mattenati, by Tosti, and Bohm's
"Still vie die Nacht" gave delightful
opportunity in boudoir singing.
Pandof1ni took Bonnards role Of AL
maviva, singing with considerable
humor, but not always with tonal in
tegrfty. Bensaude for the sixth time
in six consecutive performances sang
the barytone part. I will wager he
doesn't regret to-day being Sunday His
Figaro was jaunty in conception, and
his phrasing and enunciation in the
fleet music were admirable. Boudour-
esoue was the Basilio, distinguishing
himself especially in the "Calumny"
song, and Rosa really managed to get
a little fun out of the tiresome Bartolo.