Evening times-Republican. [volume] (Marshalltown, Iowa) 1890-1923, 1911-01-24

- VIVA OOOA00O0 " Sk1O COuuS - AO1SSOs
The remaining acts portray the ar
rest Of Asucena ~ . spy, and her call
to Manrico for help. The name Of tho
counts rival only insttlls more hatred
into di Luna, who orders the gypsy
woman burned. Manrico makes a des-
perate effort to rescue Azucena, but is
taken prisoner and thrown into the
dungeon with his foster mother.
Leonora pleads with di Luna to spare
Manrico, and offers to become his
wife II he grants her wish. The count
consents and Leonora, swallowing
poison rather than fulfill her promise.
rushes to the prison to tell Manrico OF
his liberty. Manrico refuses to accept
his freedom, and the count enters as
Leonora falls. dying. into Manrico's
arms, di Luna then orders Manrico put
to death, and when the fires are kim
died di Luna triumphantly forces Azu-
cena to witness the scene. AS di Luna
bears Azucena to the window she In
forms the count that he has murdered
his own brother and then falls lifeless
to the ground. while the curtain goes
down on di Luna undergoing the pangs
Of self remorse.
In the cast chosen for the production
here Edith Helena sang the soprano
role of Leonora; Hattie Belle Ladd the
contralto Of Azucena: Domenico Russo,
the tenor role Of Manrico; George
Pickering the barytone Of Count di
Luna: and George Shields the basso
Of Fernando.
Seldom does one find as many really
good voices among a set Of principals
as were heard in the above cast All
were delightful. and the tones pure and
full. Miss Helena was most artistic IN
her acting. and in her many arias dis
PLAYED wonderful powers. One OF the
most delightful bits Of her work was
her "D'amor sul!' ali rosee." the aria
leading to the well-known "Miserere
Miss Ladd. also most finished in her
acting displayed a wonderfully rich
contralto, her spirited aria, Stride le
vampa," in which she tells Of the burn
ing Of her mother. and the familiar duet
between Azucena and Manrico. Isl la
stanchezza," In the prison scene. being
two of her very delightful numbers.
To Sig. Russo. a native Italian. who
! has not yet learned the English OF III
Trovatore." and sang Manrico in the
| Italian fell the greater number Of the
solos for the male section. Russo has
an exquisite voice. full OF melody, and
very powerful. His duets with Miss
Helena and Miss Ladd were some Of the
musical gems Of the opera, and his
arias were decided treats
George Pickering gave very finish
ed production Of Count di Luna. as did
also George Shields Of Fernando. In
/ ''1l Trovato-e." however Mr. Shields
has a minor part compared to what the
bass is some Of the other operas Of the
company's repertoire
OF the subordinate principals there
| were Elizabeth Harris and Philip Fem
Mr.. Fein displayed not only good
voice in the minor character Of Ruiz
but excellent diction. an accom- plish-
ment that is seldom looked for In grand
! opera
| When one considers the extensive
repertoire OF a company appearing as
10 the Aborn aggregation, and knows
that every opera Is sung as we'll as was
I'll Trovatore' here. the ability OF the
principals can be realized
Miss Helena sings besides Leonora
in III Trovatore- Michae)a in Car
role in Madame Butterfly" Lucia in
Lucia d, Lammermoor." the title role
in Martha" Arlene in The Bohemian
GIRL" San Tur2I in "CavaIleria Rusti-
cana" and others. Miss Ladd sings the
title role in Carmen" Madelina in
'Rigoletto." Lady Alice in Lucia
Lola In ''cavalleria.'' Amaneris in
Aida" Nancy in Martha and the
queen in The Bohemian Girl" Among
Russo's other leading roles are Don
Jose in Carmen" which he sings in
English. and the title role IN Faust
Mr.. Pickering sings Valentine in
Faust" and Escamello in Carmen
One Of Mr.. Shields best things is his
Mephisto, in faust"
The company carries two complete
sets OF principals, besides two subordi-
nate principals for each role. The
principals who did no, appear here are
Bertha Davis. soprano: Louise I.c-
Baron, contralto: Henry Taylor. tenor;
Herbert Waterous. barytone; and VIII
liam Schuster. bass.