The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-12-31
THE PRINCIPAL SINGERS IN PRIMO IGOR"
BOVE, Mime. Aida and Pasquale Amato; below, to the left, Luca
y Botta and, to the right, Adamo Didur.

oOItd anu, " the TlBnt, Auu
opinion that the most meritorious por-
tons OF the work are the excellent
choruses and the in4eniously developed
scene OF basbaric revel in the camp OF
the Khan.
The theatrical craft disclosed In this
scene Is worthy Of a more experienced
operatic composer than the Russian
chemist. II is a cunningiy made union
OF various spectacular elements. Such
clements In opera are not wholly scenic.
There are spectacular action n music
also. When all are moulded In a co-
hesive and eloquent mood picture. even
( II be not OF the more subtle type OF
psychology. we nave AN art work.
though possibly not Of towering impor-
lance. Such a creation We have In the
camp scene OF Prince Igor
To be sure W. may shrug an impatient
shoulder wien We find our cars choked
with fiattened seconds, but we are In the
musical Orient. where the fiat second and
the fat sixth dwell together In loving
fraternity. But there ls other material
n most OF II Is serviceable and some
Of II newly disposed in captivating pat
terms. Borodin has written a long and
elaborate development Of a choral
dance. The music allotted to the chorus
In this scene Is highly effective and the
variety of rhythmic figure In the whole
dance Is good. TIE glitter OF costumes
and the agility Of dancers do not consti-
tute the entire value Of this scene. 1t
Ia unsteady successful.
In other Incidents Of the drama we
find manifestations OF the same skill.
The opportunity to utilize masses Is
again and again seized with avidity by
the composer, who apparently hnds him
self less ready wen he Is called upon to
publish human emotion with a single
voice. Probably the congeniality of en-
sembles tempted Borodin into a pro-
kitty which sadly mars the opera
Most OF its ncidents-even some
which are without chorus-are need
lessly spun out. One has only to recall
the eclipse. the drunken scene. the i'm
ploring women before the Princess. even
the barbarian festival and the prepara-
ton for the return Of Prince Igor. With
this descent into prolixity goes a fond
ness for dilatory orchestral measures in
~erspersed between lines Of vocal utter
,nce. a fault which has brought failure
upon many an opera otherwise worthy
( liberation.
Opera Needs More Cutting.
II is one OF the failings OF music that
Il impedes action but II has a more de-
plorable effect upon dialogue unless IL
places itself absolutely at the service Of
speech. Borodin's score would gain i'm
measurably II some skilled hand could
go through 1t and cut out every measure
Of music which compels the actors to
stand Idly waiting while II Is played.
Action cannot be created merely to MI
such voids II 1t does not grow naturally
from the scene II Is worse than futile.
This summary OF the matter. then, 10
Tint we have an opera of thin and dis
connected story. and a resultant score In
which little approach is made toward u
true dramatic exposition Of human emo
ton. We are Invited to view a few
episodes in which human feelings are
treated as accessories to a historical plot.
The real nuclei Of the score are the mass
effects from which tire tenuous solo parts
stream in quickly diminishing a
The best artistic textures In the Choir
uses are to be found In those of the
prologue. the petition Of the maldens In
the first act. the camp scene Of act III.
and the invisible chorus Of the last scene.
II may be added that this last serves
only to delay the action Of tho work
and hence It's musical value Is lost.
A complete enumeration Of the fea-
lures OF the production cannot be made
now. The scenery 10 very good. very
good indeed. and since scenery has be-
come a principal star In Metropolitan
productions too much emphasis cannot
be laid on this statement. The costumes
may share the glory Of the scenery.
They are also very important. The
dancers deserve much praise. especially
Miss CALI, who showed extraordinary
activity and endurance. The ohoruses
uAra ndmirnhlU mn EOArVy ma knnNpa
that choruses are vital to some lyric
dramas. Think Of "Parsifal." 10 be
sure there Is also Kundry; but this IL
another story. And 1t Ia German opera
too, Possibly one would rather think of
the choruses In Boris" or of the thrill
ing score OF "L'Amore del Tre Re-"
which storms through two splendid acts
Of human tragedy without any chorus
at all. But Borodln's choruses. az We
have seer. are brilliantly composed and
Il Is well that they were beautifully
n ,
There are no great roles for principal
sketches and no impersonator can make
much Of scattered fragments, Mr.. Amato
Is the hero OF the performance, for his
Igor has a certain heroic dignity and q
breadth Of utterance, which IL not to
be attained by other roles. He SAM
his music with power and with an ar
tistic discretion sometimes missing from
his interpretations.
Nine. Aida made Q charming picture
within the uncertain outlines Of the part
Of JarosIavma. Her costuming was beau.
tiful and her appearance attractive. Her
singing was uneven In value. II had
passages Of tonal beauty and sensi.
bifty OF feeling; II had Others which
suffered from her familiar difficulties In