The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-16
"LA BOHEME" AT The OPERA
NINE. SEHBRICH SINGS MINI THE
FIRST TINE.
Puccini's Musical setting Of MurEer's
story Pleases . Large Audience-The
Work Revived After . Seasons Dis
use-A Commensurate Performance.


set the music, was revived at the Metropol-
itan Opera House lost night after seasons
disuse. The occa, IN was made interest
ing by the first appearance on any stage Of
Nine. Sembrich as Mimi. Monday night is
the popular night at the opera and last
nights audience was large both downstairs
and up. There was every evidence Of APP
proval Of the efforts Of the artists engaged
in the performance and the demonstrations
of pleasure we're fully deserved.
For the sake Of the record and because
memories are exceedingly treacherous II
must be noted that La Boheme' was not
performed last season at the Metropolitan
Opera House. 1t was last heard there on
March IS, 1901, when Nine. Melba was the
Mimi, Miss Scheff the Musehd and Messrs.
Cremonini. Campanari Gilbert and Gourmet
had the mems parts. The opera was first
performed at the Metropolitan on Dec. 20
1900 when the cast was the same as AT the
last performance, except that the tenor was
Mr.. Saleza and Miss Occhioloni, an out
slider, had TO be- called in To sing Mussttd in
place of Miss Scheff, who was indisposed.
The Metropolitan gave the work five
times that season. but did not have the
pre- dence in making it known here. La
Boheme' was first performed in New York
by the Baghetto Italian Grand Opera Com
pany at Wallacks Theatre on May IG. 1898
with Linda Montanari as Mimi Nine
Nlcini as Nus'ttd and Agostni As RodOFo
II was also brought forward III English
by the Castle Square Opera Company al
the American Theatre on Nov IS 1908.
with Yvonne de Treville "a Mimi, Villa
Knox "a Museha and Joseph Sheehan a.
rudolph. The Castle Square Company,
too gave the last performance of il here
previous TO that Of last night at the Broad
way Theatre on Sept. II, 1901, with Josephine
Ludwig, Gertrude Rcnnyson and Reginald
Roberts in the principal parts. SO much
for history.
1t was noted when the opera was
produced at the Metropolitan that the music
was beautifully suited 10 the lovely voice of
Nine. Melt-d, but that the dramatic signifi-
canoe Of the role of Mimi was never dis
closed ~ that clear voiced singer. The
crude vocal delivery Of the first local repre-
sentative Of the part. Moutanari, was a,So-
ciated with some intelligence in acting and
indeed the whole Boghetto production.
rough and unfinished as 1t was, had very
distinct merits, chiefly the result Of an in
tense earnestness
otidliy, Nilt llfNl llTtHeItHI ION tV the
Castle Square people was by far the hes,
that we have had. The scene painter showed
much skill ana the stage manager accom-
plished not little. In the matter of stage
management, however, the METROPOLITAN
production Of 1900 was excellent and nothing
better has been done on the stage of the
opera house than the finale of the second
act. This, owing TO the hopeless wooden
ness Of some Of the Italian members of the
chorus and their stubborn holding of the
front positions 80 that they could see the
conductor, did not foam up" quite to the
br.n last night
Ii Is unnecessary at this time TO enter
upon discussion Of Pucciui's score. ia
Bohene' Is now a familiar opera and is
claims TO public favor are sufficiently well de-
fined. 1t IL in popular fancy most musical.
most melancholy" Pucciris sacchsrine
melodies flow with cloyin z sweetness from
beginning to end and the lovers Of purely
sensuous beauty III music can at this foul.t
lave their dainty souls in the very rose
water Of melody. OF perfect fitness Puc-
cini seems TO have had no concern IN writing
this opera. His sole object appears to have
been TO make pretty tunes whether the
situation or the text called for them or not
In this he certainly succeeded. for the charrn-
ing tunefulness Of the opera is beyond CUES
ton. and the finale Of Act II II theatrical!y
brilliant.
For the singer ia Bohene" i. a mos,
grateful work Nothing else which We
have had from the PEN Of the talented Italian,
so generously displays the beauties II sing
ing Of the purest kind. 1t il for this reason
as much as for any other that La b.
home Is likely to have place for some time
tocome in the repertoire Of our opera Every
one knows that the typical opera goer
likes TO hear the stars sing pretty tunes
and does not care rap what the words arr
or whether the music fits them.
Curiosity last night centred itself in
n ,l,ttg, y,
tuberculous sewing girl, whose young
love was cut short by Unsuitable Death
That there was some disappointment after
the first two acts need not be denied. But
II should be borne In mind that Mimi il a
very poor part indeed in those two acts
The first act belongs to Rodolfo and the
second TO Musettd. 1t IL not Till the third
act that Mimi has an opportunity to display
herself
But Nine. Sembrich was strangely sub
dued In the first two acts. She did little
acting and her singing was very quiet
Furthermore, she was little Of the key i'm
the last phrase Of the first act. This il
something SO unusual for this accomplished
artist that there must have been some
especial reason for il. In all proba bility
she was extremely nervous. for she IL
known TO be as anxious about her perform
ances to-day as she was when she had her
fame yet to earn. In the third act, how
ever, Nine. SembriCh sang with her GUS
tomary beauty of tone and style.
Her conception Of Mimi was based on the
assumption that the girl was modest, re-
firing and naturally refined. This Is a
correct conception, but 1t would not he
inconsistent To combine with the quieter
qualities little archness and gentle CO.
Quetry. Nine. Sembrich was too TO-
strained in action last night to indicate
these traits, even II she had designed them
as a salient feature. of her Interpretation
In the third and fourth acts, In which
pathos is the dominating element in tho
role the prima donna was admira Bile. and
her delivery of the music was very beautiful.
But it is hardly likely that Mind will be
generally regarded as one OF her most
popular roles. She fits we'll into the pict-
ure, but Mimi is not a shining star part
for her. Two acts In which the prima
donna does not command the situation
make a heavy burden TO lift In the third
and fourth. Then. too, II must be borne in
mind that in such big auditorium as that
of the Metropolitan tho delicate effects
of much lovely bel canto are lost and this
is condition which initiates against the