The sun. [volume] (New York [N.Y.]) 1833-1916, 1899-04-17
PERosps WORK CoLDLY RrcE1vED.
presentation Last Night of His Oratorio,
"The Kesurrection of Lnznrus.n


Don Lorenzo Perosl. who has become one OF
the notable composers of Europe within the
past year. was unknown TO this country until
last night. when one Of his oratorios, "The
resurrection OF lazarus" was aung at the
metropolitan Opera House. Don Perosi
mas already become more or less familiar
to ttho musical public as a personality.
His oratorios have created great enthusiasm
throughout Italy. Not only have all the cities
heard them. but 80 have most Of the small
towns. Perosfs name has more suddenly than
any other COMPOSERS. unless it be his COM
patriot. Mascagni, become known throughout
MS own country and the rest OF Europe.
In Germany and France. countries in which
oratorio is not 40 well liked as it is in England
or Italy. there has been some severe criticism
q the young priests work. The verdict Of
England where three. OF the 9ratorhos
To- be heard ar sung The "e iHdem m9n'h If has Fron yet
where Don Perosi himself conducted the pro.
auctions. was more favorable than that Of Ger
il has been openly openly said ID t that th 's's great Go success
W Shs nm ha IS come ON SO suddenly to this Young man
poiltics which prevail in musical affairs in
WAS first sing IN venice Gi%,'f in Dece m9 rasS 1877.
,ndn, Trnnsflguration 9L Christ" came a few
Gh1ist.S t lhnseT latest sFd Of his nTs orota RGsSrr wss 1a,, Of
Resurrection Of Lazarus" is the third work OF
was iiFst, performEed in July. ISIS. '"'of'oS' anu
ton solo parts We're sung in the first produc;
NM Ben Davies and Giuseppe Campanari.
4 large chorus was led by, Signor do
the orchestra, The performanc" w s9no givsn
ciety which aids Italian imm;sTants. It
introduction of Don Perosi were of the most
favorable character. 1t cannot be said that it
European success. The music SiTSsH" II at p' a
first hearing to DO eclectic in the highest de-
gree.
The composer has evidently followed many
musical models. taking something here and
something there In the fashion Of former great
w91fi alth, bong Q i II other I;pariieul9rS tIff
closely. enough. The Significance of the
orchestral interludes is not always clear. The
ances Of Christus. Martha and the narrator.
ana II is only at the close of this that the chorus
There was q lack Of characterization in the
solo voices. which. different as they are sun
posed To- he. were accompanied and introduced
has throughout the %oratorio used the accom-
panied defamation. although in some other
particularly the example OF Bach is discernible
enough. There were many traces as well Of
Palestrina, and the general eclecticism Of the
score was one Of its most marked qualities.
musical inspiration which the audience eS.
pected TO hear from q musician who
had been declared in his W country
equal to the greatest Of the religious
composers. His fame. to Judge from the work
last night. Is incomprehensible. Melody. skilled
work manship. originality-al these qualities
are lacking in this one Of Pcrosi's four orato-
rios, There was no single moment in which
his Italian fame was justified.
One number followed another in a vein So
commonplace that any church orRanist might
have written the work IL he had some faculty
q Limitation and the average talent of his kind.
The work. made no impression on the audi
ence, which was Ola character to be prejudicei
in its favor, Such n disappointment had rarely
been experienced here.
Nine. Manteili. who was first announced. did
not appear. as the nuSi" allotted to her was so
slight that Nine. TrebelIi sang that as well as
her own. Many priests We're present and in a
box sat Archbishop Corrigan.