The San Francisco call., 1905-02-10
''PEARL FISHERS"
GOULD WELL BE
HEARD OFTENER

There Is no reason but Calves why
one should not hear oftener THE Pearl
Fishers" the Bizet opera that was
given at the Tivoli for the first time
last night, though the first two acts
oil the opera were given in New York
some years ago with Calve as Leila.
The third, it was said, was cut because
the barytone comes in triumphant at
the finish, Mr.. Bizet compelling the
hero and heroine to make a hasty exit
some forty measures before the curtain
and Calve did not believe in a curtain
without Calve! Still there might be
other reasons. The legend goes that
the opera was finished by a student of
Bizet's, and there is some inherent
evidence. to the effect in the COMPARE
tive weakness of the last act. There
Is no danger. quite charming as it is,
that "The Pearl Fishers" will ever de-
throne Carmen" It's date is ten years
earlier. Carmen" is all of that better
Bizet. But the opera is distinctly pleas
ing. 1t has the. same characteristic
quality in such brilliant evidence in
Carmen" There is distinct and Sue
cessful feeling for the Hindeo color,
obtained both through characteristic
themes and ingenious Instrumentation
And the opera is. eminently tuneful,
tuneful In the frank old way, yet with
a leaning to the modern operate
school. There Is in the first act duet
between barytone and tenor of quite
extraordinary beauty; the soprano gets
a delightful solo in the second act,
where is also a very taking duet for
tenor and soprano; and the choruses
loom up most honorably in the; score.
The story of the opera has already
been told, that of the Indian maid, con-
secrated to the gods, who dares to love
a mere man. She is sort of hostage
to the gods for the safety OF the fishers
for pearls, and for her sin is, according.
ly doomed to die. The affair is conpli-
Gated by the lady being loved by two
men, who, as she has been chosen for
the service Of the gods, promise each
other never to see her more. 1T is this
vow out of which Bizet has made the
aforesaid duet for barytone and tenor.
The scene, in Ceylon. by palm if not
pine, adds much to the pictnresqueness
Tetrazzini was the Leila last night, IN
a lively all-over tan complexion. 1t
was much more becoming, by the way,
than the dead white French makeups
she commonly affects Tetrazzini is
happier when she is sadder. Mad, as
Lucia, in the tri1lful lark-like fashion
of the Lammermoor bride, she Is at
her best. Her Traviata is another tear
full triumph, and her Gilda. Leila is
really the heroine Of an opera comique,
and escapes comfortably with her lover
in the last act. The circumstances are
less stressful throughout, though the
music is more dramatic in treatment
than in any of the aforesaid roles,
taken altogether. It suits Tetrazzini
therefore less we'll She charmed,
however. as she always does. and was
besieged with flowers after her big solo,
that she repeated. Bazelli was the Ma
dir. the lover, and both picturesquely
and musically effective. Bazelli i'm
proves with each hearing. It would
seem that he was In bad form on his
debut here. Last night he sang even
exquisitely at times, the fine lyric value
Of his voice expressing admirably his
charming lyric sense. La Puma as
Zurga, the friend Of Nadir. came In
with telling usefulness. Signor Cervi