The Birmingham age-herald., 1902-12-07

NA N of the opposition of horse 'sho" \ W and opera which attract many thousands, the theaters have not lost in attendance. At this season of the. year this. great city is filled with people in search of amusements and it is indeed a poor attraction that does not receive a goodly contingent of the pleasure lov- ing army The main interest surrounds the opera The great singers are so rare that many thousands who have no ear for music feel that they must go to see if not to hear. They mark an epoch in contem- poraneous history and all these who can feel they must see them, even if tiiey be unsteady deaf. The retdrn of Alverez, De Reske Flames and Sembrlch is the signal for many to rush to the great house of song and instrumental music.
 
 As the Moor in Verdi's "Otello," Alxerez indicated that he had not remained con- tent with his first conception of the role the one of a year ago. On Manday even irg his characterization was more de- tailed But there,was no depreciation of the fundamental strength of the imperson- ation-its tremendous, native saVagery, 1 which asserts itself when passion breaks 1 through the veneer of civilization in the | scene where, wrought to a fury in which the beast dominates the man, the vehem- ence of his cries for blood Sangue, san gue!" were those of creature who-as ! tEe saying goes-'sees red. af'iI
 The performance would have been a triumph for Alvarez, had his singing equaled lis acting. But his one fault of false pitch was in painful evidence from | the very first note that he sang. i Scotti's Iago was also an improvement on previous performances. 1t is stiu too openly and brazenly malignant; it's dupIlc- ity is too transparent. 1t is more expres- sve than suggestive, more literal than subtle. In the soliloquies. though, where the supposed mask of Iago falls, and the man stands forth alone with himself, l Scotti is entirely convincing His reading of the Credo was wonderfully effective in it's synicism, it's sneering defiancs of the ideal its glorifcation of negation. Eames's Desdemona is an exquisite figure, sympathetic, pathetic appealing. This role calls for no exertion,- and the artist, whose stage art is primarily phlegmatlc has but to be her own feminine self and to use her beautiful voice in the simplest maIner.
 The recollection of Sembrich's Rosina are so positive so lovingly enshrined in tEat niche of the memory sacred to the best, that it was difficult to believe thai rearly two years have elapsed since shs has .vitalized so exqusitely. the heroine ol Roesini's s jolly comic opera. On Wednes l-day the diva was in her most felicitou: l mood. Her voice sparkled. her spirit. l.were exhuberant. She was dazzling il her song, bewitching in her acting. 4 feature of the performance was the pres j;ence in the cast of Gilbert, d member O the company who posse sses the signal tai ent to develop minor character into { definite identity. He was the Bartolo- the best since the days of Ronconi. HI humor was incessant and always reie want, always in character
 In spite of the happenings which turne' 1.-the performance of Aida into a comed, , of errors--errors of commission and opals
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