Los Angeles herald., 1909-08-14
THE CAST
BY. w. HERBERT BLAKE


etc G. Meroa. Conductor
BY. w. HERBERT BLAKE
Jealousy and malevolence were lear
nate last night at the Mason and
Otello and Iago, as sung respectively
by Samiloff and Arcangeli, must be
ranged with the select group of dis
tinctive dramatic impersonations Of
the International companys present
visit. With this said, the best of the
production has been summarily recog-
nized, for aside from these two por-
trayals there was little, either dramat-
ically or vocally, in the rendition to
call for enthusiasm. Fortunately, in
opera as in play, these two roles swing
both action and score, and the tenn
pestuous duo between Iago and the
Moor which concludes the second act
alone assures the triumph of the COM
pany banal as some of the minor i'm
presentations were.
Nine. Bertossi obviously lacks some
of the physical qualifications for de-
picting a memorable Desdemona. We
missed last night the stateliness and
fragile dignity traditionally associated
with the character. Instead Bertossi
gave us a delicate impression of re-
motely surmised tragedy in act l, and
her voice also was heard to fair adj
vantage in the latter part of this act.
In her conventional attitudes and ia
cial expressions. however, she was dis
appointing. Her acting failed to give
us the idea she was absorbed in her
role. It seemed detached, aloof at
times almost uninterested. Her voice
is at it's strongest as mezzo soprano,
a fact which units her In advance for
much of the heavy work required by
the Verdi score. In both the higher
and lower registers was this disability
noticeable. In the softer, suave mo-
ments of the drama she sang delight
fully In the stormier scenes her voice
seemed to dwindle at times, very much
as the shrinking soul of her affrighted
Desdemona retreated into itself.
Greater even than Samiloff's mas
terly Otelo was Arcangeli's Iago.
Greater because the part itself, in
capable hands. is richer dramatically
and equally vivid lyrically. Alter
nately harsh and suave, brutal and
fawningin impersonation as in voice,
this portrayal seemed to lack little of
perfection in conception and detail.
Dramatically 1t would have been as
strong IL presented without score or
orchestra, but merely in the original
Shakespearean text. This Iago, true
Italian though he be, Is also an Eliza
bethan-child of Shakespeare, exub-
Grant with the vitality and vigor of
the greatest period in English litera-
ture. lagos very devitry is thing
apart from the hate and cunning de-
picted by modern play writing schools,
who are too fearful or squeamish or
faint of faith to conceive of such a
masterpiece of iniquity.
| And such was Arcangelis imperson-
ation-strengthened and made vibrant
by his brilliant vocalization, and ac-
cented by a facial expression which
was consistently befitting. At times
his singing seemed even more impress
sively dramatic than his impersona-
tions, especially in his first solo in
act IL. His facial denotement of hate.
scorn and baleful fury was one of the
great and memorable things of the
present engagement. His Iago visibly
evolved in these qualities as the play
proceeded keeping neatly ahead of his
masters progressively dawning sus-
picions.
Samioloff's strength, too, was curnu-
lative. He well conveyed, in acts and
voice, that note of brooding apprehen-
sion which one feels on the Moor.s
first entrance amid the raging gale and
to the accompaniment of vocalized
and orchestrated pandemonium, Again
and again he showed his understanding
of the character by permitting grief to
sway and overwhelm jealousy. His
solos, especially. showed his brilliant,
resonant voice to advantage.
Cassie, acted by Giuliani, was If
possible, more utterly nil and vacuous
even than the character as presented
in the OPERA. This is not the Cassie
of Shakespeare, who drew no lay fig
ures, but endowed his slightest Gre
ations with some breath of life and
humanism. None of the other minor
roles was taken with any distinction.
and the sword play Git were jest to call
it dueD, in the first act was as polite
and decorous as game OF dlabolo.
The wound might well be dubbed the
touch invisible" so far as one could
see from the orchestra. 1t must also
be remarked that deficiency in one S
lines does not aid the solo work, how
ever discreet be the prompter and
however easy it be to hover in the
direction of his welcoming cage. And
this criticism win apply more justly
to the principals than to the portrayers
of minor roles.
The chorus sang well at times, al
though they were noticeably weak at
the beginning of the opening ensemble.
Later they sung into the clashing dis
sonances of the number with vim and
alacrity. and concluded it in a blare
of as terrifying descriptive tonal force
as even Strauss ever dreamed Of In
deed, it is with Verdi. one imagines, as
i with Mascagni in "L'Amico Fritz. "
There, also we caught at times a sort
of fugitive and mocking echo of the
Wagnerian musical principle. Both
Verdi and Mascagni seemed to be say
ing: II could do this If I choose. Just
seel But what's the use?"
In which conjectural decision many
simple minded music lovers will heart
lily concur.
Christine Nelson is in Los Angeles
on her way to Boston. where she VIII
study grand opera unIer Henry Rus
! sell. Later she will go to Europe for
further study.
| Couldn't BE Reached
1.-THE young fellow has a thousand