The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-10-12
- In the lheaters ~ Affairs Musical " %%"
WELCOME OF MASCAGNI
HE HAS IMMENSE, ENTHUSIASTIC
AUDIENCES IN NEW YORK.
His Operas InsuGiciently Produced
III. L. krehbicl Writes OF the Italian
'ReaIistic' school of Music.

Pietro Mascagni began last week at the
Metropolitan Opera House. New York, to
conduct long series of performances of
his operas. He was disappointed in that
the chorus and orchestra were not at all
prepared for their work. and he refused to
put on either Iris or "Ratcliffe' until re-
hearsals sufficient for their production
should be had. American and Italian New
York packed the opera house for the per-
formances of 'Zanetto" and "Cavelleria
Rusticana." great deal OF money will
be made by the Italian composer and his
managers during his tour Of the United
States and Indiana polls will have OPP
portunity to contribute before the winters
end. Mascagnis managers have no pur-
pose except to make money out of him as
a show in himself else they would have
made intelligent preparations for the prop
er production of his operas, but before the
close of his tour repetition shall have given
the company the efficiency it now lacks.
Mr.. Krehbiers criticism in the New York
Tribune OF Mascagni's first night is enter
tanning and profitable. II follows:
The coming of Signor Mascagni to New
York might nave had probably Will yet
have-for last nights offerings were faulty,
fractional and tentative-a unree-fold con-
sequence-to satisfy public curiosity TO see
so famous a man, to show how opera is
given in Italy, TO acquaint far away but
liberal and appreciative people with more
OF his music than managerial exigencies
nave permitted them to hear. The hrSt or
these consummationS must be set down
as wholly amiable; the world loves not only
lover, but every successful man. The
second would have provided, or will pro-
vide, standard of comparison with the
annual offerings at the Metropolitan Opera
House, and. as the judicious and expert
I'm hat
cency which has long marked local appre-
citation of the performances given by Mr..
Grau and his admirable company of ar
lists. The third will before the present sea-
son Is over help curious people to under
stand how 1t is that a man can write
masterpiece Of all-compelling force and la
Dor In vain for decade to touch the lost
chord again. Here is the outline OF d
more than pretty mission which was full
filled only in part last night The people,
vast houseful, joyous and undiscrmi-
mating assemblage, saw a popular idol and
celebrated his presence with demonstra-
tons which ranged from decorous applause
to frenetic shreks of delight, generally out
of place and utterly subversive of the pur-
poses in art for which. the famous visitor
Is supposed to stand They heard an utter
ly cacophanous and hopelessly shaky per-
formance of the opera, which they knew,
and they made the acquaintance of what
we fondly hope must be the dullest of all
of Signor Mascagni's creations.
TO dispose OF this latter feature at once,
let ii be known that the new work was a
One-dct operate Sketcn entitled 'ZanettO.
Measured by the watch, the piece endured
probably three-quarters of an hour by the
feelings of those who heard il, il filled a
long and wearisome evening. In its origi-
nal shape, as IL came from the pen of Fran
co.'s Corpee, under the title of lie PEASANT
the story is a gracious and graceful idyl. a
woman OF the world, stated and weary with
life OF amourS. meets a young singer
feels the sensations of a pure love pulsing
| in her veins and sends him out of her pres
ence uncontaminated Here is poetry and
haon hftf fDr .arfa
| OF an hour of rambling musical dialogue,
such as the librettists and composer of
.Cavalleria Rusticana have strained and
tortured ii into. drawing room sketch
| of fifteen minutes duration might nave
| been tolerable. To add to the deadly dull
ness, Mascagni, actuated, by conceit
which would have been dainty and effec-
| tive in the brief sketch limited at, wrote
| the instrumental parts for strings, harp and
| an extremely sparing use of the wood-win
choir and horn. Over and over again the
energetic conductor worked his waving
arms into teElpestuous connection only to
| reward expectation with as mild a chord
| string quartets. Harmonies there were of
| the strenuous kind, but they were desic-
| Gated; not one juicy chord was heard from
beginning to end, and the vitality of the
| listening ear was exhausted long before the
| long drawn thing had come to an end.
The performance of 'Cavaleria Rusti-
cana, out of all proportion poor compared
with the performances to which the pa
irons of the Metropolitan had been accus-
| toned, had two brilliant points OF light,
| nevertheless. One was the conducting of
| Signor Mascagni. He is master of dra-
matte expression. of sharply contrasted
| and also carefully graduated nuance, and
| he infused wondrous vitality into many por-
| lions of the representation. in spite of
wretched orchestra. The other was the act
| ing and declamatory singing of Signora
Banchi-Capelli. The operate Santuzza has
no finer representative on this side of the
| water, unless II be Nine. Calve, who seems,
| indeed, to have stood as this Italian wom-
| ans model. How dangerously near she
| approached her who has set the American
| ideal may be discussed hereafter. 1t was
| thrillnsly pathetic impersonation which
| made one overlook her unfortunate figure
| and the distressful wabble in her voice,
both of which were fatal to all illusion IN
Zanetto. In this sketch and in 'Cavelleria'
| her most satisfactory companion was Nine.
! Mantelli, who was heartily greeted by
| host of friends.
| THE audience that filled the opera house
| and packed the aisles at the rear to suffo-
| cation literally, not retaphortcally). was
| Enthusiastically Italian, Enthusiastically proud
| of the visitor from Italy. and eager TO let
! him know it. Mascagnis appearance was
| the signal for the first burst of applause.
| which rose so high and lasted so long that
| the composers back might well have grown
| weary. as he was kept bowling. his hand on
--.s heart. While Xanetto' flowed on and
| on. offering no logical pause for applause