The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-12-13
MOZART AT THE MANHATTAN.
mr. HtUNERNTETN'S PRODUC-
ROY or "DON GIOIaNNI."

st.,fanfa ( lmpanlnl, the conductor, Inc
,ta- Of the PcrrOrmancc-The Orches-
raj part Admirably D~One-SOn,c Good
,u-ln- Done by several Principals.
Mr. Haumcrstein's operate bark sailed
,,,o ysrv deep waters last night when
to,arrs -Don Giovanni was put forward
=, tbe Manhattan Opera House. An opera
~bich REQUIRES three prima donnas OF the
srs, rank. a good tenor, a great buffo bass
.,d 4 brilliant barytone will test the
,tronr,h ~ any operate institution. But
,his is not all. Don Giovanni" demands
singer, who have command of a style not
a, all common 10 the lyric stage of to-day.
n imperatively calls for understanding and
feeling, a. well as poetic insight.
These Qualifications must exist not only
among the singers but also in the conductor
and tie sage manager. All things must
rork together to carry out the spirit Of
Nozart's music, for the story Of the opera
IS told By the book in the ol dfashioned way.
The E,retto is simply a Hbretto and it pro-
vides the composer with a series Of scenes
and situations on which to build.
Mozart well knew that his opera books
were not ideal. he wished that there could
be an artist no was both poet and musician
and who would thus make bis own hbretti.
In formulating ttrs wish he had no con-
oept.on Of the Wagnerian ideal, which
momlses a dramatic poem with all the
other arts OF the lyric theatre striving
Tor its perfect embodiment.
Mozart regarded the music as the domi-
mating element in opera and held that all else
sLo.l4 exercise its highest function in help
log 10 vitahze the score. Ii this conception
- realized the result is beautiful and up-
lifting only when the music is great and true.
when II is so. as it Is in Don Giovanni"
then a r%erfect concord with it of all the
other elements in the drama brings about
a splendid achievement. But If Mozart's
score is treated as a mere series of vocal
pieces strung on a thread of Tecitative the
outcome is not inspiring. There nay be
moments Of beauty, but there can be no
dramatic conviction.
last nights performance was one OF
Incidental beauties. In one department,
however, there was consistent and notable
excellence all the time. This was in the
orchestra. CleJfante Campanini had al
ready proved himself to be a conductor OF
high ability. but last night he reached a
ueT level. He showed a fine understanding
4 NOZart'S score, and disclosed it in a
AhaAt v aANAA = -
telicately graded range of shading. The
mel!owuess of the wood wind and the dainti-
less Of the strings brought into strong
contrast the brilliant sorority Of the tutti.
Tie phrasing Of the orchestra was ad-
mlrable. To lovers Of Mozart's great work
Mr.. Campanini provided real joy.
MIR. Renaud, who was 70 nave sung the
ttle role, was again IndiSpoSed, and the
wicked Don was Mario Ancona. The other
members Of the cast were Nine. Russ as
Donna Anna, Miss Arta as Donna Elrira,
Nine. Donalda as ZeTlinG, Mr.. Bonci as
Dol Ohlpio, Mr.. Drag as LeporeHo. Mr..
Gilbert as MdsSetto n Mr.. Mugnoz as the
CCnmeRdCtore.
Mr.. Bonci's exquisite art provided the
largest vocal pleasu res Of the evening
bis aoa .IalIa sua Rae Ss E Eass soneani des m 10 ne
-oprano Of a type familiar to New York
opera goers of the older generation. She
has a huge voice, m explosive style and a
tremolo. But her singing has breadth
and force and made some impression on the
audience. Etriyd is always a melancholy
cTeature and in Miss Arta's hands she did
rot become a thing of joy.
Mr.. Brag's Leporello had good dramatic
features, but il was vocally lame. Nine.
Donalda's ZerIinn was in most respects
charming. She looked well. sang with
Judgment and acted with spirit and in
diligence. Her voice is a little heavy
for the music, but she managed it well most
Of the time.
The fete scene at Don GiopdRnt's house
IL always a crux for the stage manage
nent, A oreditable attempt to carry out
this scene was made last night, but it fell
short OF the best results b cause a COM
ulets understanding of the dramatic re-
g~uirenents was not in evidence. The diff
terent dances prescribed by the book were
not given. The country dance was visible,
hut that was all. The required two or
ohestras for the two dances were on the
stage. In fact, the dramatic orchestra
n the orchestra well was silenced and the
music Of the scene up TO the finale was
carried on by the stage bands, which had
wind Instruments as we'll as strings. This
helrad the illusion materially.
Taking it all in all Mr.. Hammerstein's
production of Don Giovanni" had some
excellent features. But the shortcomings
Of some of the principals and the awkward
handling Of the drop curtain between scenes
as well as the palpably improvised nature
of sons Of the settings, rel far toward
preventing a satisfactory representation.