The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1907-01-08
OLD COMIC OPERA
WELL TREATED
BY James Crawford

by James crawford
There were no dull moments in the
Lambardi production of The Barber of
Seville" last evening at the Central
Theater. But that does not seem re-
markable when one considers the fun
making opportunities afforded by the
pioneer comic opera and remembers
that the principal roles were filled by
persons of Italian nativity, ergo, born
actors as well as trained singers.
Their stage usiness throughout the
delightful music chatter was in re-
freshing contrast with the stilted ac-
ton of a polyglot cast that 1 witnessed
walk through Rossini's great work one
night several years ago on Mission
street. Their evident idea of appro-
pirate comedy gesture was to wave one
hand, then wave the other hand, and
then press both hands against their
chest with dramatic intensity. The
less pretentious Lambardis fitted the
action TO the word, whether the latter
was sung at high pitch or uttered in
recitative. Even the chorus moved
about with naturalness that was re-
Elective of human intelligence.
Tromben was the Rosina, and she
acted with all the vivacious coquetry
that could be desired. Her vocaliza-
ton was good. because the. score en-
abled her TO ventilate her scolerature
without stint, and her trilling and
running We're never heard to better adj
vantage. OF course, the tinpanny tone
that dominates her higher notes was
not to be downed, but it was less glar-
ing than usual. In the singing lesson
she warbled Victor MUSES. ''Nightin-
gale" with flute obligato and the effect
was charming.
Pacini's portrayal OF the barber de-
lighted the Italian heart, for 1t was
drawn on true italian comedy lines.
From the moment he bounded into
view, guitar in hand. and sang his
Largo al factotum'' aria he was not
a moment in repose. All his scenes
drew chuckles from the back benches,
where dark-eyed spectators were domi-
nant, and the "Bravas" he won were
innumerable.
Salvaneschi as Almaviva was not up
to his usual form, either vocally or
dramatically. The quick tempo of
most of his music was unsuited TO his
method and he showed less ease of
movement than any of his stage mates.
Bergami gagged" the lines allotted
TO Don Bartolo, and thereby won
laughs from folk who understood
what he said, and some of his music
was sung in way that Rossini never
intended it should be sung, but it, too.
provoked hilarious reward. Cannetti
was in such excellent vocal form that
his singing of the Don Basilio role
would be memorable even If his ac-
companying comedy was not so clever.
Franscheni as the maid and Marina as
the musician were more than accept
able.
The orchestra treated the sparkling
music with a justice that was rather
surprising after the manner in which
/ it slaughtered some of the lighter
Verdi and Gounod melodies. and when
4 the male chorus got fairly into the
,fpcy n EQtTf ell
ring attack of the opening serenade
did not help the effectiveness of the
/ most beautiful song in the opera.
I Puccinis La Tosca" is announced
/ for this evening. with Adaberto. dot
tavia, Scifoni and Cannetti among the
principals.
JAMES o'NEILL's NEW PLAY
James O'Neilrs new play The Voice
of the Mighty" drew a large crowd 20
the Novelty Theatsr last night. 1t is
based upon the Scriptural story of John
the Baptist. There is nothing more
difficult to handle in a play than a sub
/ ject on a well-known Biblical theme.
1t must be approached seriously, tact
fully and, above all, reverently. The
drama of last night fulfilled all these
requirements But in any historical
play. more especially one based upon
book SO well known as the Bible, one
| also expects a conscientious study of
! and adherance to the historical truth.
The character of John the Baptist as
presented in The Voice of the Mighty
] bears little resemblance to the gaunt
and long-haired prophet of the desert,
pointing denunciatory finger at kings
| and priests. Mr.. O'Neill in the princi-
pal role was too smooth and we'll
clipped, literally and f1guratively, but
he gave the character dignity, spiritual
beauty and artistic finish.
a.
| work Among the women characters
! the figure of Herodias stood out most
strongly. and was played by Teresa
Dale with vividness and tragic in
tensity.
The play was given with varied and
picturesque costuming, which added
greatly to its beauty. The weird light
effects in the last act were skilIfully
managed.
COMEDY AT THE COLONIAL
Henry Guy Carleton's pretty society
comedy, 1.-The Butterflies" was we'll
| presented last night at the Colonial
! Theater by the stock company. 1t is a
| tale of true love-" which does not run
too smoothly in the first two acts, but
which ends in a general burst of bliss
for every one deserving in the slightest
degree of such blessings. and nowhere
is there even a hint of tragic note
Frank Bacon did one of his best bits
| of work as Hiram Green, the million
aire of kind heart and unaffected ways.
Bacon's Characterization was quaint
and lovable. with just the requisite
| note of pathos at intervals. Izetta
| Jewel was charmingly girlish and en-
thusiastic as Miriam Stuart-Dodge,
who has trouble with her scheming
mother, the latter being we'll taken by
Maude Odelle. Bessie Bacon was pleas
ing as Green's ingenious daughter, Su-
same, and her giggling, confidential
! scenes with Miriam made hit with the
audience. Wilfred Roger was a manly
and attractive Frederick Ossian, play
ing with that slight touch of gravity
which seems characteristic of him, but
making the most of the whimsical bits
OF comedy In his lines w. c. Graves
Jr was Andrew Strong, the English