The Hawaiian star. [volume] (Honolulu [Oahu]) 1893-1912, 1899-11-01
LYRICS SCORE SUCCESS
BRILLIANT EVENING OF LIGHT
OPERA
Opening Night of Boston Company
Arouses Enthusiasm-Large Audi
ence-Constant Recalls of the Singers.

The Boston Lyric Opera Company
! will draw big houses during its stay
| here, if the performances of the future
continue to be up to the standard of
last night said Pasha" in itself is not
! a great comic opera indeed, as origin
| ally written, there are parts of it that
| are rather dull and others that are
| foolish, while the music, though bright
| and juggling, cannot claim originality.
| But by making additions and interpola-
| ting new material in a most judicous
| manner for which great credit must be
given to the musical director, said
| Pasha' proved itself as bright as any
one could wish, more especially as the
audience was hungering for good light
opera, well staged artistiCally dressed
and sung with VerVe and dash by both
principals and chorus.
one may say with justice that the
performance was the best that has ever
been seen on the Honolulu stage, and
that the company is superior in many
respects to either of the two companies
now playing in san Francisco at the
TiVOli and at the Grand.
Josephine Stanton at once established
| herself as a faVorite. She has a sweet
voice, sympathetic, of high compass and
has been well trained. Moreover she is
charming in manner, and wonderfully
graceful and light in movement. She
treads as though a daisy under her foot
would rise again unCruShed. She is adj
mirably fitted for light opera.
Contrasting with Miss Stanton was
the stronger voice and statelier figure
of Maude Leekley. Appearing only in
the second act, Miss Leekley had not
the opportunity Miss Stanton had in her
part of Serena" But she sang with
grace and, but for a somewhat over use
Of the tremelo which it must be granted
is advocated by some musicians, she
proved herself an admirable artistic.
Her duet with ToranO, and her main
solo were beautiful pieces of artistic
treatment.
The part of "Balah," a sort of Hindu
Katisha, was rendered by Katherine
MaCNeil, who gave a fine rendering of
a difficult sketch, which might easily
have been turned into broad farce, but
was keyed properly down. Her fine al
to voice will be heard to better advan-
tage in "Maritana," where she takes the
part of the "Marchioness."
Henry Hallam belongs to the class OF
tenore rObustO. His voice has the true
ring for the class of parts he will play,
and he looked the dashing Mexican no
Bile to the life. The voice of A. L.
Parmley is a high tenor and he render
ed the music assigned to the part of
Hassen Bey with excellent effect.
Of the other principals Lovette Rock
well, who played Said Pasha, has a light
baritone voice, and is a quick alert ac-
tor. Eugene Rogers is a basso profundo,
with an admirable quality of voice He
played, and rather overplayed, the RAJ
JAN.
The extreme comic element was sup
piled by George Kunkel and John Hen
derson as Hadad and Nockey. They in
trOduced a number of songs of the day
and some clever parodies, while the
business was always amusing without
once being vulgar.
Praise must be given to the chorus
which sang with accuracy and did not
treat us to the renowned TiVOli bleat.
The dresses of the chorus We're hand
some, the movements of the ladies
graceful, and the whole showed good
drilling and thorough training.