The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1905-03-04

The drawing power OF tuneful, me1ll-
fluous music of the italian school was
shown by the opera program of the
eVrdi's "Aida' with its warm and
lovely oriental coloring had been chosen
for the interesting experiment Of giving
an opera wholly from a musical stand
point The selection was an admirable
one. for the action of the opera is very
simple and easily followed and it has
numbers that lose nothing by concert
rendition without scenic additions or
action.
While the result was wholly and sur
prisingly agreeable, it kindled a strong
desire to see the opera with it's usual
accessories and particularly to see Miss
| Anita Rio in the title role.
| The audience was he largest of tho
wee K and showed its pleasure in and APP
probation of the musical experiment by
its a lmost breathless attention during
TIL etne passages and thrilling clibaxes
as we'll as by enthusiastic applause.
1t had a foretaste of the pleasures in
store during the grand opera season
that, gave note of keen expectancy
satisfaction with all the arrangements
was a general topic of the, conversation,
for the solo and chorus work with the
orchestra was the severest test of the
Auditorium S acoustics Of the week. The
fresh evidence of opportunities which
the Auditorium will afford for combin-
ing happily musical and social life gave
not surpassed by the first nights en-
thusiasm. The audience was quite as
representative and quite as beautiful
and attractive i'll its gowning.
The roles OF the opera were taken
as follows:
Am aa daughter Of the king ,(mezzo a.
Radames, captain of the guards ieS'@''e ''''''
king of Ethiopia father gd Of Hda Johnson
Ramfs: hgh priest (basso) AIRED Wiley
y messenger (tenor) j. Austen Williams
The soloists were all very accepta.
BILE and sang with spirit and sympathy,
but undoubtedly the laurels belong to
Miss Rio, who completely captivated
the audience by her pure, lovely and
true soprano voice. It's velvety soft
ness and smoothness were splendidly ex.
hlbited in the caressing melodies Of the
role. Altho her voice is not powerful
1t is proved ample for all requirements
as was shown in the great finale of the
first act and the preceding scene, "The
Sacred Titles.' Much Of the best of
the music falls to Aida and the duet
with Redames closing the third act was
entrancingly lovely. 1t was sung with
much dramatic effect by both Miss Rio
and Mr.. Johnson. The duet of Aide
and Amonacro and the closing duet be-
tween Aida and Radames were notably
The fine impression made by Mr.
johnson in the romanza, "Radiant
Aida at the opening of the opera
was fully sustained turnout. His voice
is sweet and powerful and is handled
in musieianly fashion. The sombel
! role of AInenenis gave Nine. Boultor
ample scope for the display. of her fine
tLuckstone had his finest opportunity
Father! which he sang with much dra
F'ather.!'' which he sang. with much dra
matte intensity and feeling. Alfred r
Wiley, as the high priest, sustained hi
role with much credit and the smaller
roles of king of Egypt and the mes
senger were well filed by William Greer
and J. Austen Williams.
The sonorous fnales gave fine oppor
chorus and the symphony orchestra
which played Important parts in the fin
, effect of the whole. The loveliest ant
most characteristic theme of the opera
y the invocation in front of the temple
which closes the first act, is giysn t
the chorus and it's weird cadences~ haun
' the memory and are recognized agail
= with pleasure, as they are woven int
the last laments of Aida and Radame
did work in this opera is probably tn
= most exact Of any done by these organi
4 cations and adds new 1uster to thei
& achievements and to the musical taSt
y and art of their director, Emil Ohel
= hotter Martha ScotGAnderson.