The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1905-03-29
AN.Star Cast In "The Huguenots."

yesterday AFTERNOON was truly nelC
day in grand opera circles, and those
who knew what was what, thronged tt
the Auditorium in crowds to hear the
all-star cast in 1.-THE Huguenots." Before
o'clock the interurban cars were loaded
with eager musfc-lovers, and when the
overture struck up, under the baton OF
Arturo Vigna, the same sea of faces filled
all that vast auditorium. Never before
had Minneapolis had an opportunity to
hear such a galaxy as Nordica and Sem
brich, DIPPED and Scott, Homer and
Bauermeister, Gourmet and Muhlmann in
one performance, and no one who appre-
ciated the rarity Of the occasion was will
ingly abse mt.
What shall be said Of the presentation
of Meyerbeer's most famous opera, with
it's contrasts Of gaiety and tragedy, its
frivolity and fanaticism, its love and de-
spa1r? Truly, it is a noble dramatic con-
ception, and the almost seventy years
that have passed since it's first presenta-
ton at the Royal Academy Of Music at
Paris, have not dimned its luster nor
served to make it less attractive to the
music-lover of today. 1t tells the story
of conflicting love and honor in tho setting
Of France at the time of the st. Bartholo-
NEW massacre, and Meyerbeer has made
his theme a splendid and harmonious
whole. But once does he yield to the
coloratura fascination Of the italian school
and that in the famous Marguerite aria
of the second act. It was misfortune
that no announcement was made in the
program, Of the omission of the final act,
since many were uncertain when the cur
tain fell on the swooning Valentino and
the death Of her noble lover, that the
end for that performance had been
reached.
AS performance, the audience was
treated to the finest thing ever heard here
in grand opera, not excepting '.Parsifal.' =
The entire production was marked by a
completeness and brilliancy that were de-
lightful. The stage settings were rich,
beautiful and admirably managed, and
nothing occurred to mar, in the slightest
degree, the effects sought. The orchestra,
and may heaven preserve SO perfect and
complete an organization, played with
the same skill and painstaking care that
mad made its work in "Parsifal'' so note
worthy. The chorus was revelation.
Such spontaneity and full, free volume of
tone is all too rare. The drinking song,
which opened the opera, was nagnifcently
sung, and the famous "Rat-a-plan' Choir
us by the Huguenot soldiery, which opens
the second act, was another fine bit of
singing. Indeed the choral work during
the entire opera called for hearty and
complete recognition in the applause of
Z 3
Naturally enough the appearance of
Mines Nordica and Sembrich, the. former
as Valentino and the latter as Margue-
rite Of Valois, was anticipated with great
eagerness. AS the two leading prima
donnas of the operaticE world today, they
could not but be contrasted. There was
no mistake in arranging the cast Sem
brich was the ideal Marguerite, with her
bel canto style and splendid colorature
singing. She scored her first success in
the For at that Word Of Power" aria,
with its splendid trills and roulades. Her
staccato notes were characterized by the
same brilliancy as Of yore, and the final
climax in high G was wonderfully sung.
The duet with DIPPED, just preceding the
finale to the first act, was another splendid
exhibition Of the vocalization Of which
Sembrich is such a consummate mistress.
Totally different, yet equally beautiful.
was Nordica's presentation Of Valentino.
1t was the acme Of dramatic singing and
was further enhanced by the prima dom
mas equally wonderful histrionic ability.
It was at the close Of the third act where
her power shone most respondent. The
solo. "Ah, Raoul, My Despair" and the
duet, with the tenor which preceded the