The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-13
"TOSCA" SUNG AT The OPERA
NINE. EAMES As THE SARDOC.
PUCCINI HEROINE.
An Inpersonation Of Great Physical ana
Vocal Beauty-The Prima Donna Falls
ShOrts OF the Dramatic Possibilities
OF the Part-Mr. ScOtti's Scarpia.

W oNVs" csespss'
In an opera house conducted on the star
| system new works are seldom produced
but novelty Is occasionally granted when
| prima donna desires 20 exhibit her
abilities IN new roe. II was for this pur-
pose that Puccinis -Tosca" was added to
the reI ert oire If the Metropolitan Opera
House on Feb I. 1901. when Mime. TerEins
appeared ~ the heroine. The work was
brought forward last nigh, in order tina.
Nine. Emma EAmes nigh, reveal her powerr
iii a tragic zoe. The " clsion was I'M
doubtedly one u rejoicing among the pro-
claimed admirers Of the singer and probably
| Of no little satisfaction to the lady herself.
.Tosca,' however. does not carry with it
| the assurance Of being the most suitable
vehicle for the publication Of Nine. Eames's
developments toward the stature oi dra-
matte soprano. The work Ia described by
! ia composer as a melo drama. The title
Il an apt one. for -Tosca" Is largely play
Of r,ctative accompanied by music. There
| IL Iot plethora Of that consciously charm
ing vocal melody for which Italian operas
Of al older school were notable.
The most lyric passages OF the work are
| TO be found in the first act and the begin
| ming ~ the last. In the frat he scene be-
| twee:i Toscd and her lover is one Of scnti-
| ment, and therefore permits Of sen, mental
Treatment. In tho opcning Of the third
act the scene II one Of passion. and the COM
| poser's setting of 1t il desisi "a to create
| mood Of beauty to &C. as a foil to the
bruta tragedy soon to bo enacted
! The cruN Of the drama l. the second
act ana here it's success DEL e DIS almost
wholly upon the acting of the impersona-
| tors Of Toscd and Sea pa One passionate
| outbreak OF song tine prim donna has
| The rest she must do with infect ion, facial
expression and gesture. she cannot hops
10 throw the burden upon the music. for
the music cannot sustain it. Puccini has
made an effect at tho beginning Of the act
with the unseen chorus, but when II comes
to the physical suNerings Of CGrdradcssi
| ard the .il7tual anguish Of Toscu, he has
found no musical expression. This part
Of his score IL bald and unveraciou-
In characterization, too, he burden
| Of conviction falls upon the performers
| PucCini paints no personalities ia tones
lie writes in ono style a style Of grace and
| sweetness, but not Of potency in lndividu-
| alization. He works many wonders with
his orchestration, but they arc in the treat
| ment of thcmat g devices, in the blending
Of rhythms. in tie weaving Of rich and
! suggestive harmonic plots. But his dia-
loglc j. imIorsonally legant. facile and
| tcnuous. It, pose In moments of somhr.
parent is one Of dami lancholy. Ii
| is never heart searching. Ii decorates,
! bUt il docs not reveal.
Therefore Toscd Ia not a role in which
| a lyric singer would be expected TO achieve
a marked success. II il one rather for an
actress Of cAhsustless Resource and singer
~ i'm a.
nation, The cantilena. melilupus and
! fluent, will take care OF itself If treated
with ordinary ability; the purely melo-
dramatic parts Of the opera become Or
| chestra and puppets unless there are great
actors on the stage.
! The outcome Of Nine. Eames's interest
ing experiment was what nigh, have been
| expected. but in degree the fulilment
somewhat exceeded the promise. The
beautiful and gifted prima donna reached
| further toward the goal OF her hopes than
oisnterested Observers Of her artistic prog
RES could have believed possible. vet she
| did not touch IN" limits Of the role. Let
| II h. said without further ado that in SO
far a. the technical management Of her
! voice was concerned she vas wholly ed
mira ole, except IN her attempts at Coioring
A., tone. Little came of her efforts IN this
| direction beyond some student parlando
and a sepulchral but not Elusive, monotone
al the end Of the second act.
| The speech OF supplicStlon TO the Virgin
! in the same at was voiced and phrased
! eXquisltely, but there was no pathOs in it,
! B,t, on the whole, Nine, Eaines deserves
praise for her singing. az she ALWAYS does
| Her method j. admirable. her style IL mar
| row, As Toscd she was a picture for a
painters eye, especially in the handsome
| white Dysctoire gown of the second act
Her makeup was excellent, but a selection
Of higher coiors for the costume Of the frs,
| act would better have accentua' ed the
, spirit of the scene.
Her conception Of IN" part was naturally
correct. There are no aebatablr grounds
| in the role. II l.. elemental and obvious.
| Nine. Eaines outlined the moods ana tn,
| movements with the best Of intentions
| But outiincs-or al the BEST drawing in
| black ard white-was what shn gave US
| There was no blood in hcr Performance
1t WIS irnpeccable In design. ley in execri-
| ton. The lyric sweetness Of the voice.
| the perfect poiso of the delivery, the in
| scr,itabln mask of the lovely hut irrmohle
| face, the movelcs- arches Of the dainty
! Drows, the cool survey Of the ever painless
| eyes these werr elements in a por, RAFT Of
surprising beauty, but not of tortured
| wOmanhood.
| Mime tanes does not realize tho dramatic
| limitations which she has imposed upon
| herself by the formation Of c'-ain un-
| thcatriC habits of action. '.' vsl' IL
| unimportant. Her caring cannot publish
| the aspirations % aDroud spirit. Her CON
stant use OF arm out spread backward mears
| NV llHg. Tt' N'tT~ y y lltN u-'Nl llN'S''
| actions in 'oles of which the conventions
| wore astshlis' ell and II which good sing.ng
| covered multitude OF II - Of omission.
| But dr"ma'ic soi rano must net act with
| voice. eyes, face, arms, hams, body, Nine.
FameS sings beautifully. She il beautiful
| She Is in - rnest. But what All set vibr1t-
| i'g the mir of an auditorium when over
| m"s'erinG dramatic temperament IL want
ing'
Nothing special ncc' b. said at this time
| Of the performances of Nine. Eames's asso-
| ciai"s of last uight They all repeated
| familiar interpretations. nv. Scntti was 3
remarkably fine ScdrpiG, aud Mr.. dc March
| was excellent as C1r1rndossi. Ills imper
| sonation seemed last nigh, TO have more
| spirit. more srontancity and more certainty
| then ever before. Mr.. Gilbert was again
| lightfl MS the sacris,an and Mr.. Rsrs
| earned new prai'o for his picturesque police
| gent. Mr. Manrinelli conducted With album
| dant enthusiasm and again made a stirring
end Of the masav" fnalo Of the irst act
| Things were no. p '"fectly unanimous. but
| the neral result was good The orches, RI
H.. II II