The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1905-03-29
Last Nights Double Bill.

After the mystic medievalism Of 'tPar-
sifaP' and the f1orid briliance OF "The
Huguenots," the double bill last night,
Illustrating by two of the best known ex-
amples the characteristics Of the strenu-
Gus modern Italian school, afforded a
grateful contrast. While neither Mas
cagn1 nor Leoncavallo, has been able to
repeat the success he achieved in his one
masterpiece, the two compositions remain
among the most remarkable produced in
recent years. Their similarity in theme
and treatment is not accidental, for Leon
cavallo was undoubtedly encouraged by
the furore created by Mascagni's "Caval-
ler1a Rusticana' to write "Pagliacci."
The story each tells is one of primal
passions. Love, jealousy and hatred here
find play quite unfettered by social con-
ventions. The Italian peasantry are but
little overlaid with the veneer Of civil
1zation. Far from being sordid, these
stories are epic in their simplicity and
tragic in their fatefulness. i
/ "Pagliacci' is in most respects the
greater work, both dramatically and mu-
sically. Leoncavallo has frankly adopted
the Wagnerian method Of composition
and has applied the masters theories
successfully to his theme. The story it.
self has a cumulative interest that leads
to two tremendous clfmaxes, one at the
end OF each act. The re-enacting of the
tragedy on the mimic stage with it's i'm
pending catastrophe is most ingeniously
worked out, and the vivid contrasts be-
tween the superficial comedy of the act
ors and the undertone of passion and
dread that comes momently to the sur
face and finally overWhelms them all with
Its Hood, are indeed powerful
Caruso was the hero last night. The
greatest living Italian tenor swept away
all doubts as to his right to the crown and
donned the royal purple as one to the
manner born. His regal voice, now soft
and caressing, now vibrant with uncon-
trollable passion, dominated every heart.
HIS representation Of the wronged Canio
In ''Pagliaccf' can be described onlv in
superlatlves. It was not merely the quail
1ty and the power of his voice, nor vet
his handsome face and easy, graceful car
rage, nor yet his wonderful dramatic
power that won for him the triumph
II was the union Of all these qualities.
Song is his natural language. Emotions
and moods are pictured as no mere words
or actions could picture them. A more
tremendous climax than that at the end
OF the first act, where the grief of a lost
love struggled with the fierce desire for
vengeance and conquered, could not be-
imagined. Who but Caruso could sob and
sing and pour out his hearts very blood
IN such fashion? Not even the terrible
denouement, where jealousy again gets
the mastery and plunges the knife into
the two hearts that have wronged Can1o
powerfully dramatic as was Caruso's Nor,
romance OF It, could equal that first eli
max. Small wonder, that the audience
lost itself in applause and even shouts
or appreciation that would not be stilled
The other roles in "Pagliacci" were sung
and acted In q manner worthy of the &C.
caslon. Miss Bella .Alten invested her
Media with light and coquettish witcherv
ana sang the earlier scenes with a charm
ing oalntlness that gave way later on to
1earsome apprehension as she watched
Canio's anger grow. Her voice is a pure
and supple soprano and her execution
most artistic. A third great performance
was that of Mr.. Goritz as Tonic The
vengeful clown. It began with an admir-
able rendition of the speech before the
curtain and was dramatically and vocalIv
strong turnout. Mr.. Parvis was ADEQUATE
as S1lv1o, the lover, and his duo VIII
Media was charmingly handled hv hoth
artists. Mr.. Reiss as Peppe comn1ated
the list OF principals worthily. The Choir
uses were excellently handled after The
ingenious and effective plans Of the com
poser, and the orchestral work under Wig
ma was unimpeachab BILE.
The "Cavallerfa Rusticana" fell short
OF the standard set by the other perfor-
mances. It was good, but not a strong
production. Nine. de Macchi sang San
tuzza with admirable spirit and under
standing. expressing well the contendine
emotions that tear the heart of the de-
serted one. Her voice, while pleasing is
not remarkable, and her stage appearance
Is not that OF an attractive Santuzza. Mr.
Bars' Turiddu exhibited strong and rich
TENOR and an attractive personality. r
lacked perhaps the touch Of sincerity. Mr.
begue made a well-contained Alto. and
sang the barytone role with good exnres-
sion. The best impersona ton from
dramatic standpoint was the Lola of Nine
Josephine Jacoby, who played the Co.
quette triumphing over her rival with
rea4istlc hippancy. Miss Bauermeister as
LUCIA the mother Of Turiddu, Completed
the cast. p-e'eo
The familiar intermezzo gained a new
interest from being heard in its proper
context and the beautiful rendering given
1t oy the orchestra called forth applause
tnat brought Conductor Frankie to his feet
III acknowledgment several times.
w. B. Chamberlain,
SOME YOUTHFUL FIELDER STATES.