The Minneapolis journal., 1904-04-15
AT THE THEATERS
MetropoIItan-':Iosca,'

. .H7
In many respects 'tTosca' is the finest
offering of the Savage Opera company
repertory. 1t possesses, of course, the
charm of novelty, never having been pro-
duced hitherto in Minneapolis and but sell
dom in America First produced in 1900
and considered by many critics the
noblest example Of the work of the mod
ern Italian school, it has confirmed and
widened the fame Puccini had won by his
La Boheme," and his still earlier Ma
non Lescaut.' Its music is always mar
rative, always pictorial, illustrating with
marvellous fitness the passionate story
told by Victoren Sardou in his best
achievements in tone painting are beyond
compare. His climaxes are wonderfully
effective, as indeed it is necessary for
them to be. if they are to illustrate such a
dark and tragic tale. The action is i'm
peded more or less by the music, as is
inevitable in grand opera, but for all that
Sardou's feverish and narrowing tragedy
moves along with thrilling interest across
the wonderful background Of music that
Puccini has provided.
Miss Rennyson altogether surpassed the
expectations of her admirers by the dra-
matte fire with which she infused the role
of Tosca. Seen hitherto in such roles as
Elsa, Desdemonda and Marguerite-ethe-
real women all and strangers to the warm
blood of passion-she revealed unsus-
pected powers in depicting love, Jealousy
and hate. 1t is true that in the torture
scene she fell short of expressing Tosca's
anguish of mind; but her success in the
impressive succeeding scene where she
! fells Scarpia and then placing candle:
at his head, lets drop upon his corpse {
crucifix. more than retrieved a fault
which, indeed, seemed due rather to tn,
slow moving music clogging the action O
| the play, than to the shortcomings of tn,
| singer It is to be noted that Miss Ren
nyson expressed passion by gesture facia
expression and action rather than by thu
quality of her singing. which remained
| in the pure, unimpassioned style eWhicl
seems her forte. Mr.. Sheehan, on tn
other hand, gave to his impersonation o
| Mario whatever Of dramatic force it ha,
by means Of the thrilling quality of hi
singing. He knows how to put sob int
! his voice-and that conlpensates for hi
shortcomings as an actor.
From a dramatic point Of view tn
Scarpia of Mr.. Goff. after his excellen
work in the not dissmilar role of Iagc
was a distinct disappointment. Cruel hi
| Scarpia was, but not crafty or malignan
or superstitious or lustful. These qualities
so essentially part Of Scarpias tenn
peramental makeup. were not clearl
connoted. He sang in good voice and hi
clear enunc1ation was a constant delight
Mr.. Boyle, who is probably the best acto
in Mr.. Savage's forces, played the sacrist
an with light and fanciful touch tina
furnished pleasant note i'll the first act
| The other minor roles were in wea
hands, but the chorus made much of it
few opportunities. Signor Emanuel han
died the baton in mastery fashion, evok
ing wonderful effects from the well-con
trolled orchestra. In some of the climaxe
it seemed if the orchestra was per
mitted to overpower the voices, but thi
could scarcely be avoided in an auditorium
where the audience sits so close to tn
players.
The production was set with liberal at
tention to detail. The audience prove
one of the most enthusiastic of the oper
season and bestowed vociferous approve
on the artists. w. B. Chamberlain.