The Birmingham age-herald. [volume] (Birmingham, Ala.) 1902-1950, 1910-05-10

tne orchestra upon the natural tendency
towards lyricism that a young Italian
composer inherits from the days gone by.
OF course, it is an old story to all the
lovers of Madam Butterfly La Boheme'
and 'Tosca that the results in Puccini' s
case have been most important contribu-
lions to the present day repertoire and
Scarpia, Tosca, Cavaradossi the Sacris-
tan, all the principal characters, and
even the things spoken Of such as the
little villa where Tosca and Cavaradossi
were so happy together, and the portrait,
the latter painted of the fair Altavanti
had their own well defined individual
motifs which required as the story pro-
crossed, in true Wagnerian fashion.
while the Italian influence showed itself
in the beautiful melodies that appeared
every now and then like flowers in a
breeze, peeping from green leaves The
minor parts were well sung and acted.
though, of course. interest centered upon
Farrar, Scott and Martin In the three
principal roles.
The cast represented what the Metro
politan Opera regards as its best" | OBJ
served.
Scott. as Scarpia is acknowledged by
the most discriminating critics to repre-
sent the full 100 per cent of a truly great
artist Mrs. Aldrichs answer HE has
voice, temperament, brains and dramatic
ability in the equal proportions that char
aoterize the perfectly balanced work of
the few really great singers His force.
full personality set the dominant note of
the entire opera, and was foreshadow wed
in the announcement of his motif by the
orchestra in the opening chords of the
score. and felt from the moment of his
first appearance. Martin is a most pleas
Ing young tenor who has sweet. though
not remarkably large voice. and whose
ric haa hAa., I'LL.
past two seasons. He had his great on
portunity last year in Chicago, where he
was announced to appear only few
times during the Metropolitan company's
season in that city Caruso, however
failed to materialize at all, one or two
of the other tenors were indisposed and
1t devolved upon Martin to save the sea-
son., which he did with such credit to
himself that he proved to be he pleas
ant surprise of the engagement. He has
the advantage of having been thoroughly
educated. He studied piano. I under
stand. with the late Edward MacDowell
and has had training calculated to
broaden his mentality in every way. so
that his appeal Is made more especially
by his evident musicianship and SINGER
ity OF purpose than by his vocalization
alone This, In contrast to so many of
the foreign singers whose gift of glorious
the uneducated classes
Regarding Farrar. while it,is not fitting
LOT my humble self to presume to crit
icise any artist of reputation. 1t is GER
talnly permissible to mention that a good
" number of the literary folk who can
and do speak their minds freely and with
authority regarding musical matters are
agreed In public prints that while she is
wonderful actress. the possessor of
BEAUTY and al
sonal fascination to q remarkable degree
her vocal equipment does not warrant her
being classed with the women sinserl
who have beauty. histrionic ability and
great voices besides. They have also
mentioned that while it is painful to re-
cord of so charming lady that her for
tissimo high tones are shrill, nevertheless
duty forced them to listen with unprei,,
diced ears and tell the truth as it seems
to Them
Her performance was remarka ble
demonstration of the force of sheer fem
mime charm and she held the attention
of the audience absolutely all through the
power of her acting and the fascination of
her personality brought her listeners to
a state where their emotions were SC
stirred and their critical faculties were
SO overwhelmed in the stress of the mo-
ment that they only knew they were
moved profoundly and they had no time
TO stop and find out whether the potent
factor in the result she achieved was
voice or acting or what you would. She
could have sung in any manner good or
bad that she chose and it would have
made, no difference to that audience!
They were ready to affirm she was great.
She thrilled them and they didn't care
how she did 1t: they were satisfied with
the result and that was all there was
to 1t.
Cha ol,1
ing the part and there were many subtle
shades of meaning expressed In the color
scheme or her garments. One instance
was In the last act, where she comes to
her lover In prison. after she has killed
Scarpia and has secured the passport
that will give freedom. The prison scene
was, OF course. grim and gray. When she
came in. clothed in dull colored raiment
and long cloak, gray and formless,
there was no cheering note to be seen,
but when she showed the passport and
began to sing Of the JOY of the life they
would lead together In some foreign land
she threw the top of her coat over and
showed a bit of rose-coorod lining,
AS the song grew more imprisoned the
cloak was unfastened and hung more and
more open, and was finally thrown back
so that she was rose color and hopeful
ness. That note OF color set the mood
OF the entire scene.
At the end of the act when. with the
rose lining uppermost, she cast the cloak
from her. threw herself over the para
pet to death, It was the bright and visible
suggestion of the joyous life she was
abandoning.
ut was only gray cloak with pink
lining. but how much she did with II.
Scarcely any role gives a more su-
perb opportunity than Tosca." OBJ
served, and Farrar has had many
great predecessors"
1.-THE other opera heard was Aida"
SC0NTINUED ON PAGB ~