The San Francisco call., 1906-12-28
By James Crawford

Olinto Lambardi's impersonation of
Mephfsto was the distinct feature of
the Faust production last night at
the Central Theater. Both lyrically and
dramatically the impresario's brother
overshadowed all other figures in the
cast.
This is not saying that the other
principals, or any one of them, failed
TO meet the requirements commensurate
with the prices of admittance Far
from it. With much weaker first
basso the offering would have been
worth more than the 50 maximum tax
for seat. But this Mephisto. while
shattering accepted usage by compel
ling primal recognition, elevated the
entire performance to standard con-
siderably above the ordinary.
So far as that goes, it would be a
very ordinary set of singers that could
deprive Faust" of charm, so potent is
the spell of it's music. Familiar as
its melodies are, they never become
hackneyed, but seem ever fresh and
beautiful. That is why the opera stands
repetition as no other opera can. Given
anything like a fair presentation,
Faust" can be depended upon to sat-
isfy any one who loves opera for the
music there is in it.
When he sang the High Priest in
Aida" the other night 1t was predicted
by the knowing ones that Signor Lam
bardi would be a Mephisto worth see
ing. and he more than fulfilled their
prophecy Not only in his vocalism was
he dominant, but his acting actually
fascinated. Sometimes sinister, some
times a buffoon, he was always grace
full demon, keeping well within the
bounds of good taste. His facial work
was a weird study in the second act
scene where his swagger was trans
formed to shrinking by display of the
cross. Mingled rage, fear and loath-
ing were graphically expressed by his
distorted countenance and his writh-
ing limbs as in excess of impotent fury
he gnawed his sword blade. Ever ac-
tive, he never overacted. And the ex-
tensive range of his big voice was ex-
ercised with the same artistic ease of
execution that made it so notable in the
Verdi opera. He sang the -Veau dor
with remarkable fire and spirit, and
his serenade had true demoniacaI ring.
Marguerite, to whom by right OF
time -honored tradition first honors
should have fallen, was sung credit
ably by velio Giorgi. The quality OF
her soprano is more pronouncedly
marked by sweetness of timbre, vibra-
tory expression and clever Technique
than by width of range. In "The
Jewel Song" it showed appropriate
fexibility, but lacked the wealth OF
tone requisite to compel enthusiasm
1t is one of the unavoidable misfor-
tunes that mature vocal art is neces.
sary to proper impersonation of Mar
guerite, a character symbolical OF
youthfulness and innocence. Signorins
Giorgi is no ingenue.
Salvaneschi sang the title part and
looked it after the first act. when the
traditional beard was dispensed with in
his makeup. His voice was ventilated
to better advantage than in Lucia
the previous evening, because the
Gounod music afforded him better op
portunity to bring out its sympathetic
color. His solo in the first act wa,
very satisfactory, and his third-ac
aria received thunderous encore.
Signor Pacini. as Valentine, faref
less fortunately with the Gounod score
He sang nicely in the middle register