New-York tribune., 1913-11-23
Metropolitan Performance
More Brilliant than Its
Predecessors.
A BEAUTIFUL
PRODUCTION GIVEN
Caruso, Hempel, Destinn, Matte.
nauer and Amato at
Their Best.

Verdi's "Un Bsllo in Maschera" Is
never performed In New York but II Is
revived" When II first came into the
local list the writer has no time to look
up; 1t was some fifty years ago. however.
It has, at least, been there as long as he
has been an observer Of musical doings in
New York. which. as veteran Tribune
readers know. is a whole generation; but
its existence has been ftful. 1t used to
be reformed by the German company at
the Metropolitan, which. as some may re-
member, was quite cosmopolitan in its
tastes Itinerant singers at other the
atres occasionally produced 1t. but when
the Italian regime came back to Broad
way IL fell into neglect until 1903. when IT
had revival" for one night. and Mines.
Gadski. Homer. Fritzi-Scheff and Messrs.
De march,. Campanari, Journet and
Edouard de Reszke took a hand In stir
ring up the hell-broth In the witches
kitchen. Then II slept again until Mr..
Conreid awoke 1t. not that the public
clamored for It, but because 1t was In
the not very extensive repertory Of Signor
Caruso Nine. Homer was still ready
with the part of Ulrica and Nine Eames
was willing to add the soprano role 10 her
list. So New York was twice blessed with
the opera in 1906. Thereafter the pious
duty of "revlving" the work devolved
upon Mr.. Hammerstein.
Yesterdays affair. far and away more
brilliant than any OF its predecessors. had
It's nominal reason in a desire on the
part OF the management 20 do honor to
the memory OF Verdi. There was glitter
in every feature. Beautiful scenery had
been provided for the stage. beautiful
costumes for the people. the finest artists
In the company threw themselves whole
souledly into the performance. and Signor
Toscanini led all the forces with the same
zeal that he would nave displayed had
the opera been "Falstaff'' or Tristan
und Isolde" Signor Toscanini never
shlrks and Is never perfunctory. To OBJ
viate the absurdity foIsted upon the work
by the Italian authorities, who would
neither permit Scribes historical trag-
edy TO be used as the background.
nor the scene be changed from Sweden TO
Naples wherefore the play had to given
local habltation in Boston,. Mr.. Gatti
has adopted the happy eXpedient OF lay
ing It's scenes in operatic Nomansland.
1t fits there better than anywhere else,
because II leaves no longing and suggests
no thoughts OF local color. Even Ulrica,
the sorceress. has a white face, though
her heart is black. and Purtans and
Neapolitan fishermen are no longer mixed
UP hlggledy-plggledy in the chorus as
they used 10 be. How the music was sung.
with Caruso. Hempel oscar. Destinr
Amelia), Matzenauer (Ulrlca), Amato
(Renato). Segurola (Tom) and Rothier at
their best. and inspired by Tos-
caninrs fervor, need not be de-
scribed. Tho first matinee audience
OF the season crowded the house,
and was In its most receptive mood
yet we hesitate TO say that the opera as
whole made deep impression Even
Nine Hempers beautiful performance
OF her first air was accepted in the most
matter OF fact manner. Perhaps the taste
OF to-day cares nothing for such re-
vival. better service TO the names OF
the great Italian master would surely
have been rendered had another Of Yer
dis operas. which also calls for great
cast" been brought forward-"La Forza
del DestIno." for instance. But La
Fora" is a difficult undertaking for any
establishment. Frankly, I'm Ballo" Is
impossible to the taste OF to-day from n
dramatic point of view. IL is occasionally
Interesting. sometimes diverting, and has
moments in which it is genuinely moving.
II shows Verdi I'm one OF his transition
moods. II is neither good "Trovatore" nor
good Aida" the operas between which It
falls in point OF time; but IT is better
than its companions of the interregnum.
and there is no reason, except It's book,
why II should be put on the shelf for
four or hve years after a performance or
two: certainly not after such per-
formance as yesterday. II. II. Is.
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