Evening star., 1912-01-09
ADJUSTMENTS


Belasco.
The latest operatic merger convened at
the Belasco Theater last night. where
the Whitney Opera Company. direction
| of F. c. Whitney, presented the new
comic opera. Baron Trenck," with music
by Felix Albani and an English version
by Henry Blossom. lyrics by Frederick
F.. Schrader, based on the libretto by a.
NJ. Wilmer and r. Bodansky-but space
forbids a full enumeration Of the inter-
ested parties.
Having gone through an imposing list
of players In the cast. the conscientious
student of the program is confronted
with still more names in connectlon WIN
costumes and other practical details;
With this grand focusing OF individual
brilliancies into a single point of theatri-
cal luminosity, 1T is small wonder that
Col. Whitney permitted himself to go into
type and hazard his reputation as vet
eran prophet and producer with the as
sertion that Baron Trenck's success in
America was foregone conclusion.
The production revealed at the Belasco
Theater last night is a novelty, not IN
the sense of fiashy sensationalism nor
daring originality, but in being a work
OF serious and consistent musical and
dramatic purpose 1t is opera comique
rather than comic opera. The humor IS
incidental and in character: the impress
sion of Interpolation is not permitted to
assert itself.
The career of Baron Trenck has not been
revealed with any great effort at detail
by the authors of the book. He is the
tenor hero, a daredevil of romance, but
nothing like the wicked rutfian that the
hiogra pliers depict. His activities are
largely limited tn lovemaking and chival-
rous treatment of discounted foes. And
ut the end he becomes a sort of German
Bunthorne. soulful and intense. even
when put up to be raffled for the diver
sion of the ladies and gentlemen or the
court. There is little comedy hutter1ng
about the personality of this Trenck. his
attitude toward his fellow man is too en-
tirely contemptuous to be regarded as
satirical and his lovemaking too des-
perately earnest to be considered In a
light and rallying strain.
II the barOn'S adventures In the opera
are not as wicked as the doings Of the
historic character. his mood and manner
are none the less suggestive of a reck-
less man with a mind to be turned from
loot and slaughter by no force less po-
tent than that of feminine fascination.
Herr Fritz Stumfels realized the role
after the European method of acting by
constant study of pose and facial express
sion. He has a splendid voice and, add
cd to that, dramatic abilities Of a degree
altogether exceptional. He declared him.
self at the outset by manner and method.
He is to contribute to our stage new
figure-a musical matinee idol. The plot
does not keep him constantly before the
eye. but the impression he makes is so
strong that he is easily the dominant fig
ure. He cannot be accused of having
sighted his work either in character
analysis or musical performance. Last
night, on the occasion Of a first appear
ance. whose success meant much to him.
he was SO far from any danger Of being
charged with indifference that he was
rather in peril of overanxfety.
The pace he set for himself was tre-
mendous, but he carried it handsomely
to triumphant conclusion.
The prima donna role. one of the high
est importance, was last night in the
hands of Miss Blanche Dufield. a fine
soprano, with good dramatic personality
Her representation of the lady whose
charms subdue the fiery temper Of
Trenck is gentle and appealing. yet
fOrceful and free from any trace Of ex-
aggeratiOn. The role makes extraordi-
nary demands on vocal endurance, and
Miss Gladys de LOrme will alternate it
with Miss Duffield.
An unusual concession is made to the
grande dame and comedy old man of the
cast in allotting to them one of the most
The duet, with little dancing embel-
lishment. as performed by Ethel Dufre
Houston and Pacie Ripple, fingers pleas
antly in recollection.
John Slavin the droll and agile dancer,
the Mordllin of comedy, claimed all the
laughs which could possibly have been
elected from his part without disturb ng
the serious and essential interest of the
performance. Pearle Bart was most
winsome and melodious peasant maid. and
others in the company made important
addit 'ons to the list of characters. Max
Bendix is one of the most energetic and
reliable conductors who ever flung a cue
to n chorus or shook baton over a big
orchestra, and the fact that the produc-
ton was made by George Marion accounts
for the constant attraction of the stage
pictures.
Baron Trenck'' appeals. not to tram
sient and superficial fancy, but appeals
on it's merits, and these are solid and
abundant. The production is one Of ex-
ceptional beauty.