The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-03

OF writing. The antiphonal chanting be-
hind the SCENES Is made to contrast beauti-
fully with the broken sentences of semi
rccitative sung by the choral group around
the bier. The melodic idiom here employed
is chastc. tender am genuinely poetic.
Then follows the brief scene of the death
OF the two young men. II Is written with
lovely feeling and with that nice judg-
ment in the employment Of materials ex-
hibited In other parts OF the opera.
In concluding these first comments on
this extremely interesting novelty II
seems essential to repeat the declaration
that the most Significant quality Of the
work is its freedom from the domination
of the style now the most popular In
Italian opera. MontemezEi has boldly re-
Jected the idol Pucclni. He has chosen
hts own methods and elected to appeal to
the world with an art almost aristo-
cratic in its manner. certainly seeking for
nobility Of line and purity Of color. and
yet as capable Of delinea,ins passion as
the classic verse of Euripides.
Whether this work will have a success
with operagoers. whether It will be
received into the permanent repertory of
the Metropolitan Opera House. Is certainly
no concern of this writer The case now
goes to the jury. the public. We shall.
however, be aston!shed If the jury does
not return verdict "Dignus honore."
An Admirsble Production.
The production of the opera adds much
to the artistic standing OF the Metro
polltan opera House and the credit of
Giulio Gatti-Cssazza. Mario Sala of
Milan is the painter OF the excellent
scenery which made such "A good back
ground for the action. without question
The first honors must be awarded 10
Arturo Toscanni. who absorbed the score
In three weeks and conducted the opera
with superb mastery. His orchestra sang
the passionate lyric poetry OF the score
with opulence of tone and with an In
finite variety of eloquent nuances. At no
other time in the current season has the
orchestra seemed SO iictile. so sensitive. 40
plant. Mr.. Toscanini lost no item Of the
Interpretation OF the work and to his
sympathic conception of 1t the audience
owed its first thanks for a really splendid
performance
Miss Bori must have astonished her
most devoted admirers by her impersona-
ton OF Flora. To summarize briefly. II
was lovely In Its pictorial quality. deli
cate and melting as the little flower
should have been. filled with passion and
suffering and sung almost iawlessly.
This young soprano grew greatly by last
nights revelation. She discovered un-
susp, cted dramatic skill and a higher
command Of vocal art than ever before.
Mr.. Fcrrari-Fontana, the husband OF
Nine. Matzcnauer. made his inst New
York appearance as Auto, the lover. He
has been heard In Boston and has been
much praised there. He was the original
4 tito at La Scala and was therefore not
experimenting last evening. 1t may he
said of him without hesitation that he
sent an electric shock through the Met
ropolitan.
He has n magnificent robust voice with
pealing upper tones. he sings with adj
mirable techniC, with high dignity OF
| style. with much taste and above all with
! intelligence and inspiring temperanental
warmth. His delivery OF the mad APP
/ peals OF Arito to Flora in the second act
were irresistible in their dramatic power
and yet there was no offence against the
| chastity OF art No other tenor in recent
| years has offered an imper sonation maxi
| ing such quick appeal to the feelings
! OF the audience as this. II Mr.. Ferrar-
! Fontana can repeat in other roles such
singing and acting as this we can only
wonder where ne has been all this time.
or the other two principals something
| more may be said at another day Mr.
! Didur as the father sustained the high
| level which he reached in his Boris, and
| Mr.. Amato made n noteworthy figure OF
/ MdnJred0, the unhappy husband