New-York tribune., 1912-03-06

of Neapoitan life and feeling. The score
is saturated with Neapolitan folk song.
We say Neapoitan rather than Italian,
because the mixed population of Naples
has introduced ,ments which it would
be rash to define as always Italian. or
even Lntln. While doing this the COM
poser surrendered himself unreservedly
and frankly TO other influences. That is
one Of the things which make him admira-
bic in the estimation OF latter-day critics.
In lie Donne Curiose" he is most low
ingly frank in his cOmpanionship with
Mozart. In II Segrcto" there Is a combi-
nation OF all the styles that prevailed
from Mozart to Don2etti IN Il Giojelli'
no attempt seems to have been made By
him TO avoid comparison with the COM
poser who has made the most successful
attempt at giving musical expression 70
drama which fifty years ago the most
farslghted Of critics would have set down
rs too rapid of movement to ad nit Of ade-
quate musical xpression-Mascagni and
his "Cavallerla Rusticana," OF course. But
we are tempted to say that the most mar
yellous faculty Of Wolf-Ferrari Is to do
all these things without sacrifice of his
individuality. lie has gone further. We
have spoken only OF his operas which we
know but IN LA Vita Nuoya" there is
again an entirely different man. Nothing
I'm his operas seems half so daring as
everything in this cantata. How he could
produce n feeling Of mediDvalism in the
setting OF Dante's sonnets and yet make
use OF the most modern means OF har-
moniZation and orchestratiOn is still a
mystery to this reviewer. Yet having
done II long ago. he takes up the modern
style OF Italian melody and blends It with
tha old Church song. so that while you
arr made TO think one moment OF Mas
cagni, you are set back a couple Of cen
turtles BY the cadences and harmOnies Of
the hymns which find their way into the
merrymakings of the fiesta. But every
thing appeals to the ear-nothing onends
IT. and for that. whatever our philosoph-
ical notions. we ought to be grateful to
the righteousness. the euphony and the
rich orchestration Of the new opera.
The illustration of any phase in artistic
progress IL much more important than a
discussion OF the details of a performance
could be. and therefore there Is no need or
tarrying long with the performance when
was offered last night. 1t was interesting;
II did good service to the composition as
disclosing the purposes OF it's authors; IL
was most Enthusiastically appealing to the
audience which was fine one: It brought
into a brighter light than has yet shone
upon il the talent of Miss Carolina White,
and II compelled the audience to make
fragrant offerings to Sgnor Campanini and
those who labored under him. The pro-
gramme contained a long list of names, but
only four of the performers had any sig
nificance. These were Miss White Signori
Bassi and Sammarco and Nine. Dufau To
Miss White we have already tried to pay
a compliment, but she yet deserves word
of praise for the intelligence shown In her
appreciation Of the character of Maliela,
az well az her vocal performance. which
would challenge comparison with the best
that the Metropolitan company has to offer
If her voice were but little darker In
timbre and more emotional In character
The tenor, Bassi, made particularly pa
thetic figure OF the honest lover, Gennaro,
and as a piece OF character acting Signor
Sammarco's Rafaele will seek long and
widely for a counterpart. AS for Signor
Campanini ne was honored by calls before
the curtain OF every act and by an un-
denIable request for a repetition of the
intermezzi before the second and third acts,
though why they should deserve such
honors Is a little beyond our comprehen-
" T. X