The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-03-25

And not convinced by the lesson learn
ed from that experience, they sent to
Richmond n few months ago an even
more miserable production of THE
bohemiAn Girl so miserable indeed,
that while the theatre going public
was disappointed by the first presen-
tation of Bales opera, as modernized
by horses, dogs. pigs and other 90
mestic animals. 1t was Infatuated by
the second infection OF that same
equine. canine. and porcine exhibition
In consequence of all which. only
about half house at the Academy of
Music last night greeted the Aborn
English Grand Opera Company's per-
formance OF The Tales Of Hoffman,
the first OF the four operas to be sung
during this engagement. And the
Aborns have only themselves to
blame,
Nevertheless. 1t was a pity. a great
pity. For the performance was OF a
character OF musical excellence SO high
as well nigh to erase even from a re-
venSeful memory the two disarranSe-
ments Of The Bohemian Girl"
Since its revival by Oscar Hammer.
stein In 1907. Offenbachs most am
bilious work-a "fastastic opera" It
is called-has become known to the
public at large chiefly through its
arranged for one of its acts. but they
form only very minor part of its
interest. Even cursory reflection will
bring to mind numerous bits of strik-
ing effectiveness, even power: as, for
example. the trio for Hoffman,. Mir
acle and Crcspel in the first act, as the
Aborns present the opera, while even
more frequent are the airs of melodi
Gus beauty, as witness Antonias Ro-
nance in that act. and the Air of
Dapertutto In the second act
This inverted order in which the acts
are presented is probably wise. since
1t aff ti;ts an; an oppport,unty Of getting
scenes early in the action OF the
opera.
d In Mam paens ,..o day the great
pelius, Dapertutto and Miracle. the re-
spective BARITONE roles in the three
scenes of Hoffmanns quest of the
golden girl, but even then, IL memory
serve. one soprano did not sing Olym-
pia, Guilietta and Antonio, the three
mann. Certainly that is not the plan
at the metropolitan.
But in the Ahorn production one
equally well. His Miracle is weird
and fantastic to the last degree. acted
with a corresponding hard energy; his
Dapertutto is an ingratiating, smooth
spirit of evil, which he conveys with
unusual softness and mellowness of
tonal Quality-he sang the famous air
superbiy-and his CoppeIius Is simply
an old man, to represent whom he sub
his rich NoGe TO the of
singer, an excellent actor, and a gen
uine artist. he further enunciates the
English language In such a manner as
footlights.
Ivy Scott. the only American prima
donna whom Henry w Savage .S engaged g ed
of the Golden West also sings the
three scenes, and, marvellous in the
telling is quite as s, asppealing ; as An
while her Olympia is a mechanical doll
charming even in its professional awk-
wardness And ,Nhl her sy voice too is ex-
high notes with extreme ease-attain-
ing high c sharp with no apparent
difiiculty--and executes trills and runs
with the evenncss of the true colora-
tura soprano, the voice itself is warm
and velvety in quality and Of an even
character throughout, enabling. her to
sing the passages for tho middle voice
and even those below the treble clef
with no apparent break.
Leonid Samolon sings Hoffman, with
that he exhibited last season in the
role. His voice is heroic in Its upper
tones, sounding in full voice with a
ringing clarity in. It's robustness that
thrills the nearer as no silver-toned
lyric tenor ever can. And he is pc
culiarly lifted for such n role as Hoff-
mann, since, in addition to the tragic
quality OF HIS voice. his face is often
like that of the Greek mask OF Trag-
edy lie, too runs up above the clef
with absolute certainty and apparent
ease.
George Shields has basso of full,
round, resonant quality. which he han
dies with easy skill and sureness. while
Philip Fein is again the clever buffo
None Of the other singers had more
than bit here and there. and the
chorus also was inconspicuous.
Carlo Nicosia again directs the or
chestra OF some ten or twelve pieces, |
augmented by four or five of the house
and achieves much merit |
by continually exhibiting the differ
ence betweet perfect orchestral 'ac-
and series of numbers |
for the orchestra. Besides, he has SO |
carefully taught Ills singers that mono
OF them depends upon him for lead, |
but all sing either from absolute MEM
DRY or from accurate counting.
Tonight Lucia di Lammermoor"