The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1903-01-31
--AT ST. PAUl.----
I HE AT r Z S
"Maid Marian at the metropolitan.

"Maid Marian" at the Metropolitan.
Maid Marian,'' in whom all lovers of
De hoven and Smiths Robin Hood
nave taken a deep interest because it
served 10 perpetuate the char
dcterS OF that opera, was pre-
sented by the Bostonians the
1rst time In this city at the Metropoli-
IAN last night Comparison of this
opera with otis predecessor, robin
Hood, is inevitable. Indeed, it was in
vlted by De- Koven and Smith, from
the mere fact that they launched it.
1t would be an easier task to esti-
mate the qualities Of Maid Marian" if
tnefe were, no Robin Hood" but as
there is, comparison is thereby ehal-
lenged and must be INDUCED in.
IL may be- said at the outset that
composer and librettist have produced
worthy achievement in maid Ma
ran: DE Koven has contributed a
musical score more ambitious at
times than that of his earlier creation,
ana Smith has written a Ebretto that
Will compare favorably with his work
IN other operas. But this process Of
proIonglng the story of Robin Hood
toIo so Well in the opera of that name
and set to such fitting music, was evil
qehtiy laborious one. The characters
become attenuated in the lengthening-
out process and the music loses much
spirit
Maid Marian" lacks the atmosphere
that envelops Robin Hood" and i'm
parts It's chief charm to that creation.
1here IS little or no suggestion of
Sherwood Forest and too little of
Merry England. The story awakens a
comparatively mild interest, being I'M
ouIy forced, and not as happily told.
While 1t is true that much of the
music is worthy of high commenda-
ton, it is equally true that none of it
possesses that lingering, or catchy
quality, If you please, that makes
every aria and ensemble in Robin
HOOD positive delight to the ear
However musician may sneer at that
WORD catchy" as a designation of
melody that appeals to and stays with
the common ear, it is nevertheless a
fact that all successful comic and even
grand operas possess it. Who says
that OHenbach's Grand Duchess" is
not one OF the best comic operas ever
written? Yet what ear is not perma-
nently impressed with, for instance, the
sabre song, or half dozen others in
that opera? So with 'Girofe- Girof1a,''
The Mascot" "Olivette," 'FatinitZa,"
Martha" and that array of English
comic opera classics by Gilbert and
Sullivan!
1t is this catchy quality of the mu-
sic of Robin Hood" that makes so
much for its success, this fitting of the
words to that music, the easy, witty
dialogue, the development of the plot,
the environment and the costuming.
BY miracle indeed could Maid Ma
rlan" have possessed these potent at
fractions, for its authors exhausted the
subject with their first effort.
Gems the opera certainly contains.
Lady Vivian's second song with chorus,
shortly after her first entrance, and
Little Johns rollicking number, are full
of melody and spirit. One of the most
effective concerted numbers is the
quintette in the first act, Love May
Come and Love May Go" The har-
monies are exquisite, and the words
attuned to the melody.
The finale to the first act is the most
stirring achievement in the opera. The
fervor inspired by the crusades fur
nishes it's inspiration. 1t is sung by
the entire company with fine effect,
with Grace Van Studdiford's soprano
ringing above all. -
De Koven has supplied Maid Marian
with numbers calculated to display her
voice if she has one, and Miss Van
StuddifOrd is amply endowed in this
respect. Her solo in the last act is the
piece de resistance of the opera. She
sang it brilliantly and was rewarded
with Salvos of applause. An accom-
| plished vocalist is Miss Van Studdiford,
| whose singing is rarely enjoyable.
w. H. Macdonald made his first ap-
pearance, upon the occasion of the re-
turn of the Bostonians, in Little John.
He sang and acted with his accus-
toned dash. His number in the first
act fully merited the encore accorded.
Harold Gordon, owing to the indis-
| position of Mr.. Weldon, imrersonated
Robin Hood, but seemed inadequate,
dramatically and Vocally.
The role of Lady Vivian WAS on
trusted on short notice to Miss Flor
ence Quinn, who, nevertheless, created
a pleasing impression, for she sang
Sweetly, in spite of her evident nerv-
BUSINESS.
Olive Celeste Moore again appeared
| as Alan-a-Dale, and received a merit
ed encore for the only solo allotted
| the character Howard Chambers OPP
portunities as Will Scarlet were also
confined to a solitary drinking song,
| which he sang creditably.
Messrs. Barnabee and rockingham,
| as the Sheriff of Nottingham and Friar
| Tuck, provoked much merriment They
have some good lines in the last act,
! albeit the roles in the second edition
| are not as amusing. Barnabee's best
| number is a serenade, reminding the
! nearer of Foxy Quiller's best song in
| the opera of that name. The sextette,
| THE Cobbler and the Flies" sung by
Robin, Guy, the Sheriff, Little John,
| Will Scarlet and Friar Tuck, is unde-
| niably clever.
The second act scene, representing
| the camp of the Crusaders in the des-
| ert, is effective Fred G. Hunt.
The Bostonians will repeat robin
| Hood" at today's matinee and close
| their engagement with a second per-
| Torrance of Maid Marian" this even
| ing.
David Warf1eld, whose great success
! in THE Auctioneer" was one of the
| theatrical sensations last season in
| New York comes to the metropolitan
| for four nights beginning Sunday, Feb.
l.
"a Little Outcast" will close it's en-
| gagement at the Grand opera house
with performances this afternoon and
! evening.
TODAY'S WEATHER.
| Minnesota and Visions in-Fair and
| warmer Saturday Sunday snow, fresh
south winds.
| TTnner Michigan-Fair warmer SatlIr-