New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-01-03

musical symbols i'm the Wasnerian' man
ner. His genius is Of the inspirational-
creative not OF the reflective order. which
fact makes his successful blending Of the
Russian device "a folksong element III
Muscovite music with Italian melody all
the more admirable.
Poet and composer have left Us without
clew as to even the approximate period in
which the drama plays; but the scene
painter. in three fine pictures, seems 10
invite the imagination TO fix the ume at
about the tenth century. There is sug-
geston. again OF the opera Russian pro-
totype in the semi-tarbarc decorations
which ornament the walls of the last
scene. and of an earlier period than that
mentioned in the architecture OF the first
scene. But the question OF time does not
obtrude itself because Of the eloquent
manner in which poet and composer have
given voice to d tale which might be told
of any time and any people.
The burden of the representation Of
"L'Amore del ire Re" falls upon four
persons-the representatives of the old
king (Archibaldo), his son (Manfredo),
the faithless wife (Fiora) and her love-
(Avito) There is but little ensemble sing
ing and that is confined TO the last act,
where the poet to fit his play for oper-
attic treatment has introduced a hymn
and a species Of choral dialogue which,
like the estimate accompaniment figures
spoken Of. has a prototype in Moussors-
sky's opera In this choral dialogue there
80 Of no
ment. which also plays its part in evoking
sympathy for the lovers and saving thci~
conduct from utter condemnation. Like
all the other ethical and psychological
factors, il is introduced into the drama
with great dizziness and achieves its pur-
posed without attracting attention TO it,
self or asking for accentuation through
/ local color II il has d symbol II is
haunting music of flute and horn. which,
like the lark's song in Romeo and
Juliet" is the herald OF the morn and
| the sign of parting, which comes back
/ like haunting memory in some
I Of the climaXes Of the second ac;.
one Of the performers i'm this hrst
representation outside Of Italy was the
( original creator Of the part Of Avito in
Milan-Signor Ferrari-Fontana. the hus-
, band Of Nine. Matzenauer who this sea-
son. as last. is a member OF the Boston
Opera Company. He was a chance i'm
personator Of the part on its first pro-
duction, chosen because the tenor of the
La Scala company who had been selected
! took III a week Iefore the opera was
given its first hearing. He is a singer Of
heroic mould. and won his way to the
admiration Of Metropolitan audience
! last night by dnt Of sincere and impas-
stoned singing and acting and the dis
closure Of a voice Of noble quality. one
thing only initiated against a complete
artistic triumph on his part. and that
was an unfortunate tendency 10 depart
| from Just intonation. In the beautifully
conceived and executed love scene OF the
second act. however. lie swayed the audi
| enCe like an elemental force, and must
| have SET many Of the Metropolitan
! patrons 10 wondering why his services
were not commanded by Mr.. Gatu In
/ stead Of Mr.. Russell Nobility OF voice
and style marked the performance OF
signor Amato. and in a large degree also
the singing and acting OF Mr. Didur. who
| impersonated tho old king.
The part OF the heroine fell 10 Miss
Bori. TO watch whose growth toward a
beautiful artistic maturity is delight.
| In song and action she was an entirely
convincing and sympathetic figure. SIN
cerity was the keynote OF her impersona-
ton as il was OF the entire performance
which enjoyed the uplifting influence OF
| Signor Toscanini's direction-an influence
always fairly entitled TO be called an in
spiratiom for performers and listeners
alike.
The enthusiastic reception Of the opera
nv the audience was unequivocal. The
annlause was loud after the first act. and
! ,umultuous after the second. applause
that was not the cvocstion OF any
claoue. but arose spontaneously from all
parts OF the house Seventeen curtain
I calls we're counted after the second act.
I and the artists were showered WITH
flowers. Between the acts the audience
poured out into the foycrs and brought
it's enthusiasm with il. In short II was
abuudantly evident that the Metropolitan
had secured an opera by a new composer
| which Is complete success, both with
INC cognoscenti and with the general
public. sSgnor Montemezzi has come 10
New York. and New York is his
Mr. ,;atti-Casazza expressed himself as
most happy over the outcome.
".I.Amore Del Tire Re is "A remarkable
york. a work sincere in spirit original IN
cnnresslon and admirably constructed
sotd Mr.. Gatti. "Signor Montemezi Is
| Young man Of great talent which oe-
| serves 10 be encouraged am anueeu
happy that to-nights audience has taken
to the work. Y