Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-04-14

prima donna. For the same reason took
my middle name, Marccllino in place of
Paxede. which would not have been so
easy for people outside of my own Galicia
TO pronounce. So I finally became Marcella
Sembrlch But that was long time after
l began to study music"
So seldom has Aida been heard in this
city, that a description of it may possess
interest to many
After short prelude, consisting of a
beautiful pianissimo movement, mainly for
the violins, and very Wagnerish in it's gen
eral style, the first act opens In hail of
the kings palace at Memphis. short dia-
logue between Rhadames and the priest,
Ramf1s. leads to a delicious romanza Gee
leste AdaO, which is entirely fresh and
original, recalling nothing that appears in
any of Verdi's previous works. 1t is fol-
lowed by strong declamatory duet be-
tween Rhadames and Amneris, which upon
the appearance of Aida develops to trio
CNieni, dfletta'). In the next scene the
King and his retinue of ministers. priests
and warriors enter, and a majestic ensem-
Bile occurs, beginning with martial chorus
CSu! del Nflo'o, in response to the appeal
OF the priests AS the war chorus dies away
the retnue disappears, Aida has a scena
or great power. 1t begins with a lament for
her country c'Ritorna vincitor'D in pas
s1onate declamatory phrases. clearly show
smooth, flowing cantabile In the finale,
NUM- pieta," Verdi returns to the Italian
style again. The final scene is full of 1ri-
entail color and barbaric richness of dis
play.
The second act opens with a female
chorus by the slave girls, the rhythm of
which is in keeping with the oriental scene,
followed by an impassoned duet between
Amneris and Aida Gala pompa che ST APP
presta), through which are heard the mar
tial strains of the returning conqucror.
Inc second scene opens the way for an
other ensemble which with its massive
choruses, and it's stirring march and ballet,
heralding the victory of Rhadames, is one
of the most picturesque stage scenes the
opera has ever FURNISHED solemn. plain
tive strain runs through the general jubila-
ton in the appeal of Amonasro c'Questo
assisa CHI 10 vesto") to the king for mercy
to the captives. The finale begins with the
remonstrances of the priests and people
against the appeals of Amonasro and Rhae
damesa and closes with an intensely dra-
matte concerted number.
The third act, like the first, after brief
cieli azzuriD. sung by Aida, and the re-
mainder of the act is devoted to two duets
the first between Amanasro and Aida, and
the the second s between Rhadames and
contains another impressive duet between
Rhadames and Amneris C'Chi tt saliva,
sciagurato'D, ending with the despairing
song of Amners, 'Ohime! morir mi sento"
In the last scene the stage is divided into
two parts. The upper represents the tenn
pie Of Vulcan. or Phtah, crowded with
priests and priestesses, chanting as the
stone is closed over the subterranean en-
trance. while below, in the tomb, Aida and
Rhadames sing their dying duet GO terra,
addio'D. Its strains blending with the jubi-
lation of the priests and the measures of
the priestesses' sacred dance
Muscally considered, Don Giovanni is re-
garded as Mozart's greatest opera, though
Il lacks the bright joyousness of the Mar
H. ut
pronounced. and have entered more freely
into general use. however, than those of
the former. Dramatic as the story is, some
Of the melodies which Illustrate 1t have
been impressed into the service of the
church.
One of the sure signs Of an actors success
in London is the way he figures In the
pantomimes. If an actor makes a real
strong hit in London he is sure to find him
self burlesqued in this species of enter
tainment so dear to the English during the
holidays. Yet if De Wolf Hopper's status
abroad were to be judged by the way he
figures in these entertainments, the thea
ter-goer could come to no other conclusion
than that the tall comedian has made an
impression upon the public that was in the
nature of being gigantic. One London pa
per lately said that in pantomime in local
theaters and in the provinces there were
no less than fifty performers made up as
Hopper. and singing his songs from Eel
Captain" and THE Charlatan." In "Puss
in Boots" at the Garrick, there were two
Hoppers on the stage at one time-one of
the performers made up as Eel Captain
and the other as Demidofr THE Charla-
tan" VIII Bishop, the comedian of the
Empire Music Hall. the most popular resort
Of the kind In England. is now wearing
Hopper's old Ell Captain" suit. He sings
Behold Ell Captain" and attempts an imi-
tation Of the comedians voice. He then
changes to Hopper's "Charlatan' makeup
ard sings his II am the Seventh Son of
Seventh Son" song. In the burlesque, Gid
dy Ostend," at the splendid new London
Hippodrome. one Of the characters is called
The Wolf Hoppera Hawkshaw, the Detec-
tive" A few facts like these fully demon
strate the really fine impression Hopper
made in London: an impression that led
one Of the daily papers. the Globe, to say
that There Is not funny man in England
COMEDIAN