Los Angeles herald., 1905-04-19
HALLS CARUSO
KING Of SONG
CRITICAL AUDIENCE SWAYED
BY GREAT TENOR
SEMBRlCH SHARES TRIUMPH
"Luels" Is MaenifloentIy Presented at
Temple Auditorium by the Met
ropoIltsn Grand opera
Company
sEMBRIcH SHARES TRIUMPH

crowded to the uttermost seat last
evening when Lucia di Lammer-
moor" was sung. Owing to the fact
that the big Conried opera company
planned to leave at midnight, Arturo
Vigna, the conductor, began the over
ture at five minutes before eight and
the whole of the first scene was given
to the superhuous accompaniment of
swishing silks and fastening foot
steps as the army of late corners
sought the high priced seats. Again
there was a dazzling display of even
ing gowns and the audience was even
more brilliantly arrayed than that Of
the previous evening. 1t was an APP
preciative audience after 1t was final
ly ready to pay attention to what was
going on behind the footlights; at
times it was most enthusiastic, al
though Mr.. Vigna discouraged sp-
plause that would retard the progress
of the opera by failing to notice de-
mands for encores. But the con-
ductor shared the honors with Caruso
and Madame Sembrich and he could
afford to be a bit arbitrary in the way
Of giving no more than the score de-
manded. The orchestra did wonderful
work. Vigna held it on the tip of his
baton and managed it with the magic
of a wizard
Caruso was the center of interest
naturally, for he had come to the coast
after a year of eastern triumphs that
caused him to be acclaimed as the
greatest of lyric tenors. That he more
than justified all reports was generally
acknowledged last night at the close
CT the opera, when the audience
cheered and cheered, lingering under
the spell of the tenor's voice and re-
calling the singer again and again.
Men and women usually too conven-
tional or too critical to applaud, cried
bravo! Bravo!" and hundreds of
handkerchiefs were waved from the
boxes and parquet chairs. The duet
at the close of the first act was re-
ceived with an outburst of spontaneous
applause and Caruso's appearance in
sung was the signal for a demonstra-
tion. The desire for a repetition of the
sextette was ignored, although the ap-
plause lasted several minutes In the
last act Caruso's triumph was COM
plete. Los Angeles gave him well
come that warmed his heart and sent
him away with the desire to return to
1t often.
Sembrch Shares Triumph
But Caruso was not the only star.
Since 1883, when Madame Senbrich
made her London debut as Lucia, she
has been recognized as one of the most
remarkable coloratura sopranos of the
last quarter century.
Madame Sembrich has been prodigal
in using her voice. 1t has lost in power,
but it is managed with an art that
conceals the loss of volume of tone.
Her singing last evening evidently
charmed and delighted the audience.
for she was called before the curtain
many times.
NJ. Journet sung the role of Raimon-
do with fine effect. This Frenchman
is a sincere artist. Mr.. Parvis as
Enrico was the weakest of the prin-
cipals in what was a strong cast.
Abrupt indeed was the transition
from German to Italian opera. After
"Parsifal." the time worn favorite,
Lucia di Lammermoor," was listened
to with an enthusiasm which led to the
suspicion that, after all, even the most
advanced" music lovers prefer the
mildly emotional rather than the intel
lectual appeal.
Wagner's festival drama Monday
night touched the lofty keynote of re-
ligious tradition; it produced feel
ing of reverential awe. Its symbolism
lifted the mind out of the physical
world and compelled the contemplation
of accepted truths. Parsifal and Kun
dry belonged to mystical realm in
the act where the temptress sought to
awaken love in the heart of the guile
less one, and even the garden scene
failed to absorb the sentimental inter-
est of the audience. The story of Lucia
is human; it conforms to the conven-
tional lines of romance as it existed
before the present period of psyche
logical analysis. A generation ago
Walter Scott's famous novel stirred the
hearts of readers and the opera found
ed on it won instant popularity. In
last nights audience were many who
could remember the triumphs of prima
donnas whose names have passed into
the history of the lyric stage. To
these the familiar arias had the double
value which old association gives.
"Lucla" Thoroughly Enjoyed
Adherents of the Wagner school of
music saw the absurdties of italian
opera, but they enjoyed the melodies of
Lucia"
The chorus was magnificent vocal
ly. 1t was in perfect keeping with
Italian opera traditions. Gone were
the pretty flower maidens. In their
place were women who might have
sung to the oldest opera lover in the
audience.