New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-11-12
PUCCINI REVIVED FOR
THE OPERA OPENING
Success of SenOrita BOri in
"Manon LeSCaut."

There were several reasons why the So
cial side of last nights opera opening
oyershadowed the artistic Public expec-
,aton had been whetted by promises Of
q sumptuous revival of one of two works,
both calculated TO make the pictures on
the STAGE vie with those In the audience
ROOM Either one, moreover, would have
;,troduced the new member of the COM
many from whom much is expected and
mon whom will depend the success Of all
the operas calling for singing of the ford
kind. But Nine. Hempel took i'll, and
neither Les Huguenots" nor The Magic
Flute" was available for the first night
The best alternative which presented
itself 10 Signor Gatti's mind was to pro-
duce a Puccini opera, in which Signor
Caruso and another newcomer in his
forces might take part. Such an opera
was "Manon Lescaut" The work mas
never won a firm hold on the local pub
lie When it was first performed in New
York PuCcini was practically an unknown
quantity. and though Mr. Conried attempt
cd to give it briliancy by bringing over
the composer to witness its first perform
snco at the Metropolitan opera House IN
January, 1907, it did not hold its own IN
the repertOTy after the succeeding season
But Signor Gatti's attempt TO extend the
Puccini list with lie Nillt' failed ana
the recurrence TO "ManOn Lescaut was
natural and even praiseworthy. Ihere
are respects in which its music Is re-
froshrg relief after some OF the popular
works which succeeded IT, "Tosca,' for
instance: It is a godsend after La ran
ciulla del West" Its passion has more
genuine ring. 1t Is freer from manner
isms and il has fewer futile strlNlhss TOT
effect. Moreover il is the only one OF
Puccinfs operas in which there Is a
Touch of graceful comedy. II is impos-
sfbIe 20 avoid comparison between the
Nanon operas Of Massenet and Puccini,
and II is only the exquisite archaic touch
IN the boudoir music and the love scene
which follows which enables the italian
work 10 hold its footing at all in the
presence OF the French masterpiece.
What Nine. Cavalier failed TO do for
sicnor Puccinrs opera It seems very
likely that Sehorita Bori may succeed in
doing-not because of her acting, nor
even because Of her appearance Qor is
neither Of these respects did she bear
comparison with her predecessor, but be-
cause of her fine vocal skill. displayed at
crucial moments. In the first act she
was distinctly disappointing. Mixed with
the rich organ tones of Signor Caruso, her
voice seemed pallid and infantile II could
not assert itself at all, and the little
vitality given II by the purity Of its
timbre was crushed out OF it by the rude
plaving Of the orchestra, over which the
new conductor, Sicnor Polacco, exercised
insufficient restraint. But when her OPP
portunity came in the second act, she
surprised the audience. critical and uR-
critical alike, by the real fineness Of her
vocal art--by an exquisite exhibition OF
legato singing, by exquisite diction, i'm
peccable information and moving pathos.
There 1t was found, too. that the quality
OF the voice and it's perfect unison gave
II ample carrying quality, though Signor
PoaccO succeeded in drowning it sub
seouently I'm the duet with Caruso, who
seemed purposely 10 have modified his
own glorious tones for her sake. The
new conductor displayed an admirable
desire and commensurate ability TO Undue
the score with life and elasticity, but
Puccinis orchestral voice is frequently
blatant and needs great deal Of Bully
Bottoms "aggravation" 10 become ac-
ceptable.
Little more need be said-ali that Sen
orita Bori, Signor Caruso and Signor
scotti whose fine characterization OF the
part OF Lescaut has always been praised,
and their companions could do 10 habili-
tate the opera was done There have been
more brilliant openings from musical
point Of view. but the opportunities which
the opera offered were amply utilized and
the reception was enthusiastic.
VI. z. X.