The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-11-18
PARADISE LOST

i AMaUIJL LVJ1
An event of the highest musical
to Minneapolis was the
presentation of Theodore Dubois
paradise Lost by the Philharmonic
club at the Exposition building last
evening. 1t was important because
it was really the dedication of the
reconstructed auditorium of the Ex-
position building. 1t was also inn
portant because it was the first pre-
sentation OF Dubois work in the
northwest and much interest had
been expressed in its production.
6. 1t is a little difficult to classify
Paradise Lost" satisfactorily. While
taking the form of the oratOrio and
the more serious and prententious of
the cantatas, it abounds in dramatic
touches and effects which make a
sharply defined line Of cleavage be-
tween it and the oratorios, at least.
Mr.. Patten in his Isaiah has
worked along the same lines and with
the same dramatic instinct.
The work is divided into four parts,
opening with the revolt of Satan and
his hosts. Introducing the seraphim
choruses, the archangel, the ehoruses
of the rebels and the faithful, and
closing with the final Victoria"
chorus OF the faithful and the over
II. is descriptive of hell. and opens
with the chorus of the lost calling |
upon Satan to avenge them. The |
| plan Of the arch conspirator to work
his vengeance thru striking, at the
two beings placed in paradise is de-
veloped, leading, to the third part.
descriptive of the. Temptation.
This portion of the work affords Mr..
Dubois his finest opportunities for
descriptive and dramatic writing, and
lin it he has been most successful
| There are few finer things in the
realm of oratorio music than the
closing aria of triumph voicing
| Satan's satisfaction at the success OF
his revenge. The closing. part of the
work is devoted to THE Judgment"
and. describes the Punishment OF the
pair from the garden.
i The Instrumentation of the new
lcomposition is most ingenious ana Is
highly descriptive and dramatic. me
work of the new orchestra is in the
main to be literally commended.
There were occasional lapses on the.
part of different members, notably
among the brasses, which occasionally
marred the effects designed, and once
or twice quite seriously. It is, how
ever, a source of congratulatioh that
with the limited. time at the DISPOSE
ton Of Mr.. Oberhoffer, who directed,
and of the orchestra itself, it's work
should be so eminently successful. Be-
fore the present season is over fine re-
suits may surely be counted on.
The work Of the chorus last evening
was remarkably good. 1T was UNI
fortunate that the great width of the
stage and it's comparatively shallow
depth prevented the gathering of the
chorus into a more compact body. The
arrangements last evening resulted in
a slight unevenness of attack which
was especially noticeable in the ladies'
ivoices. With the exception of the
tenors, who were decidedly weak the
chorus was very evenly balanced. The
volume of tone was good, and striking
i ly fresh in quality. This was espe-
= cially true of the sepranos.z=
The solo work was of unusually
good quality: The visiting soloists
were Nine. Shannah Cummings, So
prano; Edward Strong, tenor, and
these Mr.. De Gogorza was easily the
: favorite and justly won the most gem
uine applause of the evening. His
voice is a high barytone of: clear, RESI-
onant tirnbre and he used 1t with re-
markahle skill and with excellent
!. <lfervor and seemed to enter into the
= role assigned him, that Of Satan, easily
the most important in the work, with
: Eearnestness and success. Had his
lower register been little more pow
erful, 1t would have added to his eff
fectiveness measurably. Mr.. De Co
gorza's singing of the aria Of triumph
at the close of part three was one OF
the finest things ever heard here. and
his singing thruout the Temptation
was most praiseworthy. A veritable
ovation was given him.
Mrs. Cummings, who sang the par
= of Eve. has a sweet, clear and pleas
ing voice, of extended range and. o
more than usual volume. She sans
the part with intelligence, achieving
hn n in, I,n.> on
semble work with the other soloist
and the chorus, than in her solos
Edward Strong, the tenor, sang at
disadvantage in that he seemed las
evening to be almost lacking in tn
dramatic instinct. His voice is a clea
ity, which he did not use to the hes
advantage, and while his high note
were clear and true, he failed t.
arouse any distinct enthusiasm.
OF the local singers, Maud Ulme
EJones, who took the part of the arch
angel. could not have. been more hap
PLY cast. She sang with fine effec
the opening recitative being rendere
in a broad and dignified manner espe
cially suited to Mrs. Jones style. I
the closing part Of the work she score
another success in the difficult recita
tive and aria in which the predictio
is made of the impending doom. TIL
climax of the prophecy, feretelling tn
@ death Of Abel, was one, of the drs
matte opportunities afforded her, an
she availed herself of it with fine RI
suits. While the style and voices (
the two sopranos are so different Mr.
Jones did not suffer from the enforce
comparison. Alfred Wiley sang tt
part Of Moloch, and is deserving
strong commentator for his SUI
cess. Austen Williams, tenor, and
E. NJ Keller, barytone, took the par
of Uriel and Belial respectively, an
with Mr.. Wiley, sang an effective tr1
~ lin part II. Mr.. Williams also saE
q a short solo.
The newly decorated auditorium
a great relief after the immense emf
- tiness of the old, and the large aud
ence which gathered last evening e.
. pressed it's appreciation in certai
terms.
Howard Boardman.
i SlaytOn Orchestra.
Counter attractions prevented
. large attendance at Wesley church las
evening to hear the concert by tn
SIayton Woman's Symphony orches
- ira, which opened the Wesley cours