The San Francisco call., 1909-01-17


Lambardi proved the truth of the
theory that music and architecture are
related arts, which theory involves
the suggestion that success in one
presupposes ability to succeed in the
other A good architect proved him
self a good musician.
After the successful season Lambardi
toured South America and finally
wandered as far north as the City of
couragement which Californians were
giving to Italian opera. We had been
liberal patrons of many companies
which now are mere memories locked
UP in the hearts of "old theater goers.".
Why should Lambardi not make a
success in San Francisco, where Bi-
anchi, Strakosch, Carlotta Patti, Ma
pleson and Fabbri's forces had won
fame and money?
Lambardi made his first venture in
San Francisco during the season of
1898. That was the time he brought
Salassa first For several seasons
thereafter his original company was
re-engaged for the winter Tivoli grand
opera engagements.
Although Lambardi did not bring
Tetrazzini, who it will be remembered
was with the Polacco forces. and al
though La Boheme" and 'Manon" were
given their first American presenta-
tions in San Francisco under the Del
Cont regime, Lambardi has been more
faithful to our operatic welfare than
any other visitor, and thus we again
owe to him the only grand opera music
we will hear this season. The greatest
disadvantage, it seems to me-, that.
Modest Mario" labors under is the rep
utation he has established in the past,
founded on an original company which
introduced us to Salassa, Russo, Ave
dano. Repetto, Ferrari and Badaracco.
Much, then, of the Improvement that
has taken place in local appreciation
for good music must be attributed to
Lambardi's generous offices. We re-
member him kindly for his production
of Giocomo Orefice's opera, Chopin,
and 1t was no fault of Lambardi that
the piece had no more than a tenta-
tive success here. That was its fate
elsewhere In Milan and throughout the
music centers of Europe the opera is
looked upon as a loving memento to
the memory of a great musician by
soul temperamentally akin-and, like
most mementos, to be accepted for the
spirit in which it was offered rather
than for the intrinsic value of the gift.
The opera failed after having achieved
the distinction of a few presentations
and Crltlcal praise lOr the composer .
skill in welding Chopin's piano themes
to vocal and orchestral scheme.
Edoardo Lebegott, one of the di-
rectors of the company is a favorite
here He is a composer of excellent
repute and is looked to by his Milan
admirers as one who will join the ranks
Of the greatest Of Italian composers.
His opera "Semele" was given its first
presentation anywhere during the re-
cent Los Angeles engagement. Lebe-
gott withdrew it at once In order to
rescore part of the music which did
not please him. The reviews of the
opera were more than favorable A
later work from his pen is THE Red
Rose" set TO an English libretto. He is a
scholarly writer. though emotional. His
directing reminds the beholders of Gre
atore and Sousa. He is yet a young
man, a student and a thinker, and some
day is, let us hope. destined to turn out
second "cavalleria" or another
I "PagIiacci"
This IS the schedule of the operas