New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
MUSIC
Some Reflections on Recent
Operate Performances.
RESPECTFUL QUESTIONS TO |
SIGNOR PUCCIEI.


followed by LeoncavaIlo's "Pagliaccf."
which ought. perhaps. to call for the great
er consideration at the hands OF a daily
reviewer of musical doings in New York
to-day, because it offered an opportunity TO
a singer in whom the public has begun to
take warm interest to be seen and heard
In a new part Alma CLICK essayed the
role of Media for the first time. Under
the best of circumstances as IL turned out.
there would have been no call for extended
Iaudation or depreciation Mrs, or Mime, or
Miss GItick. or Chuck Cher formative state
is still indicated by the INDIGESTION touching
her professional name), sang well enough to
please those who know enough to know
how long and rocky is the path before her
which leads to the heights and III enough
to crafty those who wish that she may fail
in her ambition. That may suffice as record
of the novel incident OF the afternoon As
for the rest II IS all more than twice-told
taIe-the fine singing and acting OF Miss
Destinn. as Santuzza; the refined achieve
nents of Dinh Gilly, as Alto: the satisfac-
tory conventionalism OF Mr.. Martin (can
nothing arouse him out of it into something
better?). as Turiddu, IN the first opera; the
tremendous enthusiasm aroused by Signor
Caruso. who, perhaps. because he does not
need to do more than his disposition TO be
good natured suggests. on his entrance
makes all the greater effect in his dread
fully, fearfuIly. painfully exaggerated rem
dering of the song ''vesti Ia Giubba" at the
end Of the first act. For years the public
has insisted on looking upon that song.
which, after all. is only sequel, or echo.
of the vocal part of the prologue "a really
brilliant stroke). from a dramatic point OF
view, and we could heartily wish TO hear
1t sung without the intersection CT ErU1tS
and groans. and signs and whines, between
the tones of its melody in it's clirnacteIic
phrases. But the taste which can prompt
such wish is not in consonance with that
of the people who crowd the Metropoli AN
Opera House whenever Caruso sings mo
matter what the opera) in defiance of the
municipal regulations, which we learn after
every deadly panic or fire in theatre were
enacted to protect the public from destruc-
ton Here the preachments Of practical
social economy are as idle aesthetic in
the other case. in fact they are more than
three times idle.
After ALL looking back over the operatic
productions of week. the best lesson
great" might be said if there were really
great lessons in Opera-WaS taught Dy the
outcry of chorister in 'Cavallerla ruStl-
cana" Two men go out to fight duel 70
the death. A curious crowd follows them
off the scene. A broken hearted mother
ard betrayed woman bewail their fate IN
a few ejaculatory phrases only when one
OF the crowd rushes back with the
cry -'Turridu is killedr" The curtain
falls. That is the conclusion OF the opera
which opened the way to all that Italy has
had to offer since Verdi spoke his last
word After Mascagni and Leoncavallo (who
have ever since been linked together here1
came upon the scene, only one italian Won
q foothold here. and he is with us. prepar-
ing the production Of his latest work. Sig
nor Puccini, in view Of the interest
which the first production OF his latest
work has aroused all over the world.
has conducted himself with a dignity and
decoruu which entitIe him TO the greatest
It is understood that, so far
as the dramatic proprieties are concerned
he is leaving them in the hands of Mr.
Pelaseo. OF course. Mr. BelascO knows
better than anybody else what THE Girl
of the Golden West needs from a pictO-
rial and dramatic point of view. even if il
be turned into opera under the polygiot
title. La Fanciuua del West But would
consult Mr.. Belasco about features in two
ether operas of his? When SiSnor Puecini
was here in 1901 he confessed that the
operas dearest to his heart were La
Bohene" and Madame Butterfly" He
has Witnessed excellent performances Of
both here, but does not seem TO have
stirred a finger to wipe out two blots-
egregious biots-upon their faces. How
can an artist like Signor Puccini permit
CoIIfne to sing the farewell to his over
coat in the last act of La Boherne
There is nothing in all the history of
italian opera which Signor Puccini has
behind him SO utterly homogeneous. so
offensive to all delicacy of feeling, so
utterly sIIhversive OF dramatic effect as
this song. Dramatist and composer have
worked hand in hand to develop the pa
.hetic situation of Minis death. She is |
brought into her lovers room TO die The |
mere mention Of her cold hands sends her I
grisette companion out to sacrifice her /
Jewels TO bring back a muff. There is no /
coffee, no tonic, no stimulant in the room /
.iussetta has gone. without a word 10 |
bring what she can and then CoIline comes
o the footIights and, after it ia all too late.
sings a long farewell 10 the overcoat which /
% pawn Under the best of circumstances
supposing he had dispOssessed himself Of .
he garment for a bottle of wine in the
earlier merrymaking) the song would have
mock-pathetic; as IT is it CRATES on
very fibre of sensibiIity that a listener has.
L is an eXcrescence on the face OF The
opera and Signor Puccini should show his
.espect for the intelligent portion of the
American public by cutting it out or'putting
/ where 1T belongs among the comedy fea-
ures of the opera
That is one reform with which Signor
'uccini might rejoice the hearts of his in
elligent admirers. Another is the restora-
ion of the original finale. unsteady as
rell as dramatically. of Madame Butter
w." Let It he admitted that II is a severe
est of physical endurance for the prima
onna 10 go through what are now the sec
nd and third acts of the opera without a |
,eriod of rest So il is for the public; but /
here would be change and refreshment
nouen IL the spectacular side Of the highly l
vigil were varied by the closing /
{ the curtain without the cessation OF the
music There are many people who |
ernenser Mr.. Belasco's dranatization OF
ar. Longs story chiefly because of the /
ense interest caused by Mrs F1ske'
was II Mrs Fiske1 attitude during
he supposition night at the window. In
he case of the opera music can
"a ,,sed to create the Illusion OF the passage
. +i,,a and fas We know from the scene |