New-York tribune., 1914-11-29
BORIS C0DUNOFF
AT METROPOLITAN
New Belgian Contralto
Makes Debut in Nous
Sorgsky's Masterpiece.

Modesto Petrcvich Moussorgsky was
a name which until two years ago was
practically unknown in America. I'M
I'll two years ago Russian opera had
been attempted once or twice. the last
example being Tschaikowsky's "Pique
Dame" and almost Immediately cast
aside. Then like revelation came
Boris GOdurOH," and the New York
operate public opened its ears, its
heart and, stranger than all. its purse.
Russian opera rad come into its own.
Boris GodunoH' was sung again
Yesterday afternoon, for the first time
this season, and an audience which
completely filed the Metropolitan lis
tened 10 the work with an attention
that spoke louder than any applause.
Boris" is no opera for the vlrtuoso,
soprano, tenor or even conductor IL
is a work in which the chorus is the
chief protagonist, the spontaneous ex-
preston Of peoples soul. Based upon
folk song and ecclesiastical chant, with
the sophisticated orchestralon, which
10 displays at times. clearly an after
thought, with little continuity or dra-
matte acceier7tion in the story, and
with orly one scene. and that an eX-
crescuce, containing any element or
love interest, Boris G0dunof' is IN
deed almost an anomaly But anomaly or
not, il has made an impression equalled
by no opera since "Parsifa"; and, hear
ing il. we in America are able to eaten
a glimpse Of the spirit of that great
nation whose idealism and whose vir-
gin strength are 10 mean so much to an
enervated civilization. Russian bar
barism" may be expressed by Boris
Godunof" of"-what shall We say Of Ger
man "kultur." as expressed BY
"Salome." "Elekyra" and Der Rosen-
kavalicr'?
IN costuming and in scenery the
Moussorgsky opera, as presented at
the Metropolitan. might well be still
another lesson TO the conventiOnalists -
lesson which the Metropolitan man
agement itself might learn with ad-
vantage. Imagination the staging Of
Boris" has, an Imagination lacking in
most of the other operas presented at
our opera houses. The garish coiors
of the square between the cathedrals
Of the Assumption and Of the Arch
angels may startle at first, but they re-
main fast fixed IN the eye, and they
give a powerful atmosphere to the story
and the music.
Adamo Didur again took the part of
the tortured Gar and. despite his vocal
limitations won all hearts by his pow
erful impersonation. AS Boris Mr..
Didur has taken his place among the
great actors Of the opera. Nine Ober's
fine powers are largely thrown away in
the part Of Marina, but Mr.. Althouse
as Dimitri, Mr. Rothier as PImenn, Mr..
de Segurola as the drunken monk and
Mr.. Rciss as the simpleton were. as
ever, admirable Miss Sophie Braslau,
who last season sang Theodore, yester-
day took Nine. Maubourg's place as the
innkecper She sang her one folksong
most effectively.
The Theodore was taken by a new
singer, Nine. Raymonde Delaunois, p
young Belgian contraltO, who Is eX-
ceedingly well favored in face and fig
ure and graceful in manner. Her voice,
while not large in volume, proved alto
gether pleasing and perfectly con-
trolled. MIR. Toscanini led, as he al
ways leads, with devotion, enthusiasm,
sympathy and restraint. The cast was
fo1laurs