The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1911-11-28
ADJUSTMENTS
Academy OF oiusic-Dnrk.
bitou-"The Real Girl" matinee and
night.

two objections offered and urged nv
| many OIL the critics against it-nrst,
that the music in itself does not
create the proper atmosphere, and.
second. that the score is not tuncful,
AS to the first, l. unfortunately, was
never IN gold mining camp in ls49
| or 1880. so that this criticism will not
be combated; as to the second, IL VIII
De recalled that a German musician
| wrote a number of operas, none of
| which Is remarkable for It's tunefu,-
ness, yet all of which are considered
! more or less meritorious; indeed. to
quote Dr' walter II. Page. "hc created
n new heaven for those who hear"
10 the ear Of even the average anna
tour musician, however, Henry "
saNage's presentation of pucclni's
opera at the Academy of Music yes
tetaay offered hours OF sheer delight,
both In the afternoon and in tho
/ evening. True. there was nothing to
! whistle as one came out of the house.
nothing for the audience to hum with
.ne singers. and. for that reason.
.nerS was possibly some dtsappo!nt-
inent to some of the patrons of Tho
theatre' but, with its dramatic power
ana Slrillty, and tremendous orchcs-
tral effects, the opera made a deem i'm
preston upon those who looked and
listened earnestly and seriously. In
oeed, that may be the keynote To &c
/ tuii enjoyment. 1t Is not of the LIGHT
tIothS character that may be heard
appreciated and enjoyed by those yho
listen carclessly during nauec- ~
conversation, but requires undIyided
attention, both TO words and music
FOR certainly the music fits. CARRIES
out the meaning OF. both the words
and action OF tie drama-omittinp All
mention OF atmospheric conditions
surrounding mining camp in Call
lornia more than half a century ago
anu oesides the tense dramatic quail.
| ties OF the opera and its wonderfm
orchestration. there are many baautI'
tui passages In the very first few
moments OF the performance. occurs
: inc melodious song OF the camn min
strei' accompanied by the soft voices OF
the chorus: little later, the wretch
i ed Larkens bursts out into the pathos
! Oh MS homesicls longing, with the
miners hummng after him; again,
"neh Ihe Girl sings the bit. Purge
me with hyssop and I shall be clean "
the music is simple and quiet and
beautiful. Then RANGES story, sung
TO the Girl and her own, sung to him
are. Doth impressive; the one, harsh
ana bitter, the other, joyous and bril-
iant And when the Girls dawnins
rove Tor Johnson breaks into light un
On her' both voice and orchestra rise
heishts OF soaring beauty soften
sI s ana diminishing down to the short,
simple recitatire, He said have the
lace of an angel"
In the second act the Girl sings with
hitting. racing charm OF her hanny ,Ir,
IN the mountains. with supreme mas
SION "hen she gives her first kiss Ia
tne outlaw. and with bitter hatred q,
her contest with Rance Indeed n
would be hard to conceive anyth,ne
more enthrallings (not "earth-roiling"1
man tnis entire act. following closely,
as 1t does. the Belasco drama To the
very end. when the curtain falls upon
| the glad cry, Hes mine!"
In the third and last act, which IS
ulnerent from that OF the drama, not
only does the chorus have an oppor-
tunity to sing music most melodious.
nor only does the Girl come on with n
muSlcai cry as stirring as that of the
falkyrie. and plead with the rough
miners in phrases as lovely as any in
Madame Butterfly" singing an obli-
cato to the chorus, which swells to a
mighty volume OF tone, but there oc
ours an aria of incompatible beauty
and dignity--beginning with the words.
Let ner believe that I have gained
my rreedom"-so beautiful that both
III the afternoon and evening the an
dience could not refrain from a spon
taneous outburst of applause at It's
conclusion.
The orches tration Is nothing short
OF marvellous Modernized to the last
possible degree in Instrumentation. its
wonderful harmonies and powerful dis
sonances. ms well as the simpler use Of
drums, brass, wood and strings. ex-
pressed and conveyed every emotion.
every thought, and intensified every Bit
or action. From the thunder of the
tympani during the storm, the strIdent
norns throughout the fight between
Rance and Sonora. to the pizzlcato Of
the bass strings during the excitement
OF the game Tor Johnson's life. every
instrument was written In by master
hand. In the afternoon Mr.. Sodero
conducted with ability and accuracy.
but in the evening Giorgio Polacco, the
premier conductor of the organization.
filed the fifty men under him with the
enthusiasm that was his, led them and
his singers with the Sacred fire" that
is In him, and swayed them until the
performance was artistic, thrilling and
| almost terrific In its dramatic tense
| ness.
In the afternoon Ivy Scott, savage.s
only American prima donna with this
production. sang tho part OF the Girl
In voice Of much beauty OF quality
and played IL exceedingly we'll, giving
| attosS't'ei a. Hhoet satisfactory per-
Torrance Henri Barron sang johnson
fairly we'll, though his voice is not
| large.
William Beck displayed a ringing
baritone. especially in the upper regis.
ter as the sherin. but played uneasily.
The role OF the squaw,. sung by Edmee
de Dreux at both performances, Is un-
important, II not unpleasing.
IN the evening, wo heard what was.
production possesses. Luisa Villani,
as tho Girl. sang SO brilliantly and
played, with 80 much fire that her
nottced--her voice is clear. ringing and
smooth. and she uses 1t with the ut
most prodigaltty. Ellison van Hoose,
! who was brought on from Chicago for
this performance largely because OF
his great popularltyfin Richmond, sang
with a fervor. volume and perfection