Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1914-11-25
TRIUMPH
In "TOSCA" OPENS
OPERA SEASON
Scott and Martinelli in Other
Leading Roles - Brilliant
Audience at the Metropoli-
tan.

but in glory not one whit, opened in
Philadelphia at promptly s:15 last night
when Arturo Toscanipi conductor with
the Metropolitan Opera Company. raised
his baton for the first bars Of Puccinrs s
"Tosca."
To greet the familiar opera and the
admirable singers in 1t Philadelphia sent
n representative opera audience. From
the music lovers in the topmost gallery
60 the music lovers in the boxes the au-
dience was keenly appreciative and thor
oughly happy.
Special pleasure seemed to be taken
by all in the fact that Philadelphia is
the only city outside New York where
grand opera on a metropolitan scale can
now be heard in this country
No thought of retrenchment or of the
high cost of living was noticeable In the
auditorium. The operatlc Gold Coast"
more Familiarity known as the "horse-
Shoe" shone, and was resplendent, as II
has always been. The promenade was
n gorgeous glitter of beauty adorned.
Even the huge opera house was newly
decorated and newly arrayed to greet
the season.
Apart from the music, the costumes of
Miss Farrar and the excellent staging OF
Rstic comment Miss Farrar entered in
grayish-blue brocade dress, green
hat and n most envlable cloak fiowered
and figured and draped over her shoul-
ders In utmost grace. In the second act
she threw of a rich blue cloak to show
gown of yellow satin.
In the final scene, played under a SEM
blance of the changing lights OF day
break, her dress changed from blush gray
20 the dull gray of the rinal tragedy.
CRITICISM OF THE OPERA.
"Toscn" is familiar enough and the
justification for choosing It in such brief
season as Philadelphia is to have was to
make 1t appear. strange and wonderful
and new. or to cast 1t with perfect art
lists Tie former method, It seems, was
beyond the capacities of the Metropolitan
Opera Company. In the first place they
lack Joseph Urban to paint their seem
cry, and are content with the time-worn
drops they possess.
Choosing the second method. they sue
ceeded admirably, through the efforts of
Farrar, Scotti and Martinelli Between
the high dazzling apparltlon of Farrar
and the damning apparition of Scott. Mr..
Martinelli was In desperate straits to
make Cavaradossi appear even interest
ing.
Martineilfs voice seems gradually to be
" AeHylnB tne VeTQlCI OF the CrltlCS OF last
Year, who proclaimed that his voice was
fwhite." 1t is gaining in color, and,
Enough 1t is thin and powerless at mo-
unents, 1t Is becoming richer in the lower
Eones and highly expressive. He acted
With fervid youth to aid him, a good ap-
pearance. and, especially in the first act,
fine zest. His two arias in the first act
md In the last were excellentiy sung.
II is hard to say whether Scott was in
BAD voice last night or had come to the
Tine when he Is willing to subordinate
MS voice and trust to his excellent acting
nd dramatic declamatory power. Ger
lainly the resonance and power were not
here last night. scarpia, it may be
noted. had not single aria which is IA
mlliar. and this is as it should be, because
he part is SO devilish and sinister.
Mr.. Scotti has no need to sing In tho
italian manner to win his triumph. He
sould still play the "old sad faithful
zecher," who trembled with pain at the
ouch of Tosca's hand. He played It ter
IDLY and wonderfully last night. He
lone of singers in this country can play
opposite such clean and simple acting as
1iss Farrar's and not be put to shame.
FARRAR's TRIUMPH.
Because Miss Farrar was. in everything
aeyond reproach. She has the faculty
% making others who attempt the roles
which are hers by the divine right of
art appear tawdry and meretricious.
compared with the Tosca-scarpia OF last
years opening. this alone was art: the
other was advertising Mr. Marcoux's
scarpia is more brutal, but he is not more
ferrible.
Miss Gardens Tosca is more striking,
but not even in the first act was she more
seductiye. Flirting with Cavaradossl,
shrinking from Scarpia as from the poll
Intion he is torn and tortured, Miss Far
faEs acting was wonderful to see. Her
gestures came with the spontaneity which
long practice alone can give Her face.
Ger hands. her body. her voice, were
Needed to make poor Tosca's hackneyed
slight seem true, again.
Miss Farrar has given thanks to Lllli
Lehmann for the new wonder OF her
voice. II Is time now that her hearers
gave thanks. Only once, in the last act,
did she lose control OF II; apart from that
Der voice came with marvellous sweetness
DOT rich In texture. but finely grained and
Expressive In hundred shades OF feeling
She has the faculty of making her voice,
q given moment. cease 10 be "produe-
ION" and rise I'm pure floating sound. The
Yissi d'arte" of the second act. the most
poignant OF all Pucclnis arias. came so.
md with the sight of Scarpia, looming
black and vicious behind Tosca, the eject
u its vocal purity became entirely
ramatic
Miss Farrar achieved a wonderful
<riumph In New York last week. when
ne sang Carmen. For music-lovers, then,
4he year begins-and II is the year OF
Geraldine FarrRr.
hir. Toseanini conducted the opera with |
wealth OF taste and discrimination. He |
Hld not spare his singers at moments |
#hen the voice Is properly only a part |
ef the orchestral scheme. Neither did |
re drown the voices when they should |
have stood alone. And. what Is more, |
4le made the sinuous melodies OF Puccini |
bite ana hold as we had forgotten that |
fueeinfs melodies could bite and hold. |
re took the dramatic value OF his music, |
hs little retardatons by which Puocini !
makes burst OF happiness IN one song /
Heeome deep tragedy In another and |
played them superbly And his orchestra, |
especially the strings, was worthy OF his |
conducting.
SOCIETY AT THE OPERA.
The brilliant assemblage was In the
pesi of moods, so much so that when L
here came a little error In stage man
sement. the persistent closing Of case i
anent windows which for the realism OF Il
Pc scene should have remained open.
- audible litter swept over the lower
Moor and boxes
IL seems scarcely possible that these
y short months should bring about such Il
radical change ln Women's fashions /
or even the mOHt the casual observer
you'd be impressed With the decided dif- Il
1ersnce from the styles Of last year
Ane almost sntire absence Of trains