The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-03-18
AT THE THEATERs
MstropoIltan-ca Castle Square Opera Com.
pany In aust"

AT THE THEATERS Z,
etropolitan-cast Square Opera COM
pany In Faust"
No less than nineteen different COM
posers, all of the nineteenth century, |
wrote operas based on tie Faust-legend.I
Besides these, symphonic works by Ber-
lioz, Schumann and List and overtures by
Wagner and others found their inspirattonl
In the same fascinating myth. The liter
AZURE OF the subject Is, of course, far
more extensive. But as Goethe's master
piece stands as the finest poetic trea tment,
SO Charles Gounod's grand opera, first
produced In 1852 overshadows an the
others Of the nineteen by its marvellous
tone pictures. Unlike Goethe's poem
drama, it deals only with the Gretchen
incident" OF the legend. leaving the Sub
sequent adventures and final fate OF
Faust untouched. While the libretto con-
stdered as. whole lacks unity and is
rather series Of scenes. this weakness
is retrieved by the wonderful sympathy
and sensibility with which the composer
has treated many of the scenes. The in
terest in the Faust story is at bottom psy-
Geological and the enduring fame of the
opera is due quite as much to the com
poser's successful treatment Of the psy
Geological motive as to the brilliant rnelo-.
dies and beautiful harmonies with which
it Is ornanented.
The production of the Castle Square
company at the Metropolitan last night
was marked by the same excellence and
esprit de corps that chara cterzed I'll
Trovatore' on the opening night, al
though the cast did not prove as strong
or. as well balanced. The choral effects,
which form so impressive a feature of the
composition, were produced with beautiful
finish under the Watchful eye and SYM
pathetic baton of the conductor, Mr..
Emanuel. The lit Of the bright choruses
sof the kermesse scene. the military swing
of the soldiers chorus and the deep re-
ligious feeling Of the choral prayer after
the, death of Valentine were effectively
Interpreted. The orchestral work, while
In the main good, seemed at some points
too much restrained rather unusual
fault.
Vibrato must be contagious. Nearly ev-
cry one of the principals last night seemed
to be suffering from more or less serious
attack OF vocal ague and the tremolos
heard, where clear, sustained notes are
called for by the score, were far too nu
merous. This was especially noticeable
| among the male members Of the cast. Mr..
D'Aubigne, while by no means the worst
offender had a touch of the prevailing
complaint. His tenor is musical and
pleasant in other respects. although not
powerful. His representation OF Faust
lacked dignity and color. On the other
hand, the Mephistopheles Of Mr.. Boyle
was a piece Of fine acting throughout He
realized capitaly the saturnine humor of
the prince of darkness and tinged every
scene with the cynical hue that is typified
| by the red glow that, surrounds him. ! Mr..
| Boyle has a bass voice: Of breadth. power
and f1exibilty. but unfortunately his ear
Is not true and his singing is marred by
many notes not exact in pitch. Mr.. Car
rier's Valentine was not the vigorous.
martial representation demanded forFthat
| character and his vibrato was most dis
tressing. The fine song, "E en- the Brayest
| Heart May Swell, - would have been a
delight but for the tremolo, which quite
| destroyed the beautiful legato effect so de-
sirable In that number. In his death
scene, however, Mr.. Carrier retrieved him
self by really fine emotional climax. Mr..
Coombs was acceptable in the small. role
| of Wagner. . ..,E~ =
/ The cast was saved by it's feminine half
Miss Rennyson's Marguerite was a beau
! tiful and effective. impersonation from
every point of view. The gentle sim
plicity of the maiden spinning In the gar
den, the childish ardor with which she
gives her heart to Faust, and then the
sudden broadening and deepening of the
character when tragic woe descends upon
| her, the despair and madness that en-
| fold her, the penitence in the church cor.
zridor and the touching agrief of the sfina
prison scene; tempered with, love fors the
unworthy Faust-alI< these varying pl1a Sc.
Of the character were admirably inter
preted by Miss Rennyson. Her voice
which at first in the forte passages
seemed to have an edge on it, smoothet
1 and softened as she sang. Her pianissi
4 mos were beautifully sweet and clear ant
the pictorial quality Of her descriptive
work was striking. Miss Du Ere sang thu
nezzo score Of Siebel with fine feeling
and in good voice. She was notably eff
fecttve In the well known air in the gar
den, with Marguerite and the flowers as it!
/ theme: Miss Ramsey sang the role O.
Martha much better than it is usually
sung and acted 1t with intelligent discre
ton. -:-# :
1t is. to be noted, too, that the singer.
| last, night enuncinated their words Will
more distinctness than was the case IL
I'll Trovatore' and that the benefits O
| Opera sung in English were by tina
much the more in evidence "
w. B. Chamberlain.