The news & observer. [volume] (Raleigh, N.C.) 1894-current, 1902-10-08
FAUST" WAS GRAND
Gordon-Shay Opera Company
Score a Great Success.
Miss Shay Made An Ideal Marguerite and the
Support Was Extremely
Strong,

The role of Marguerite in Faust" has
always been a test of the great prims
donnaS of the world. 1t is not only be-
cause Gounod's music is eXacting on the
singer, both as to the sustaining power
and color capacity, but because the con-
ception in accordance with Goethe's crea-
tion must meet the requirements of q
high ideal.
While the music was written by a
Frenchman for a French stage it is the
presentation in operate dress of a Ger
man legend Notwithstanding the bril-
liant beautiful melodies that illumine the
score, it is nevertheless an extremely
difficult work to artistically and appro-
priately cast 1t requires artists we'll
balanced of the highest degree of skill
to give the opera it's proper tone and
effect. 1t is a love story told in the very
finest of the art of music and entails n
spectacular picturesqueness not always
essential in even the greatest work.
Goethe's Marguerite is the pure, trusting
devoted maiden-without fiippancy, or
oStentation, or dramatic gesticulatiOn--
modest, almost demure, loving with Il
pure love through all her misfortunes,
even unto death, and saving her seducer
in the end from perdition by her own
sacrifice.
Miss Shay has evidently made her Mar
guerite the subject of earnest conscien-
tiousness and abiding convictions. She
presents as far as in her power, the Mar
guerite of Goethes ideals and follows it
up consistently to the close. Her con-
ception of it is pure, lofty, and eleva ling
lie I'll
isms about her. 1t contains not :, sug-
gestion of frivolity. In the garden scene,
the vanity natural even to the purest OF
women declares itself, but without osten-
tation. Her fondness for the jewels is
the occasion, not the. handspring of her
love for Faust, which comes, so to speak,
at first sight.
In the death scene of Valentine, Miss
Shay's conception reaches the expression
of graf dramatic intensity. Her appeal
to Valentine for mercy was invested in
silent power that touched the feelings
to keenest sympathy. In the Cathedral
scene her conception was nobly sustained
depicting the conflict between hope and
despair. Only deeply religious nature
could have given SO powerful d portrayal
of both, yet the most terseIy held dra
matte Interpretation came last in the
prison scene. Here her glorious voice
asserted itself to the fullest advantage
Miss Shay has a voice fine in timbre
sympathetic to the echo, of good range
and exceeding sweetness in the middle
register. and is we'll equipped for the
part. True that the public has lost Emma
Abbott, her equal if not her superior, has
been found in Miss Shay, and this speaks
volumes.
John Dunsmure was a splendid Mephs-
topheles. Nature seems to have fitted hir,
especially for the part, his magnifcI Ut
voice and rare distinction of manner en-
abling him to be convincing. His serc-
made before Marguerite's house-one of
the most weird and grotesquely diabclical
compositions in musc-was sung and
acted by Mr.. Dunsmure very close, if not
to perfection.
Archille Alberti, the baritone sang the
part of Valentine and was one of the
best representations of the evening. He
was brave and courageous and he has a
baritone voice fully equal to all demands.
The singing of his aria in the second act
was musical treat and in his years of
experience he has lost none of his arts
tic ability.
The Faust of Joseph Fredricks. was al
admirable performance, he has tenos
voice of excellent quality and sang his
role with much feeling and expression
In this duet with Marguerite in the night
scene, and where Marguerite appears in
the window, innocently singing of her
love for him and he could be no longer
restrained by the evil hand of Mephisto
the climax was extremely effective. Both
voices showed to great advantage in this
scene. Fredricks seems suited to the
part of Faust, and was admirable.
Miss Pauline Johnson should not be for
gotten. She sang with most excellent
quality of voice true to the score in
every particular, and with a dramatic ac-
ton that denotes her as one fitted for the
rank of grand opera artists, and the
chorus and orchestra are entitled to
equal credit for the valuable part which
they contributed to the evenings success
full operate entertainment under the
able direction of Guiseppi Tressi
Mr.. j. Saunders Gordon, who is we'll
known in this community as the manager
or musical organizations, has at las
reached the height of his ambition. fol
ne has certainly gathered a company OF
Grand Opera Artists of which he may
we'll feel proud. They are all artists oil
ability and we predict for him and his
company grand and glorious success tC
all of which they are we'll entitled.
Such success can certainly be pre-