Evening star. [volume] (Washington, D.C.) 1854-1972, 1915-12-21
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Belasco.

The postponed performance o.
4"L'Amore del tire Re" was given las'
night, and met with the reception tc
which its interest as an absolute nov
city in American operate production
entitled it. 1t represents the modern
tendency of opera, which develops
poetic narrative as a primary essential
with the music as an assistance in en-
bellishment and in terrifying the
emotional intensity of the scenes. II Is
the music of significance rather thah OF
sound that Montemezzi has employed
and his Interpretation in tone OF tne
tragedy called forth the wonderful re-
sources of the company now appearing
under the auspices of the Washington
grand opera committee with dazzling
brilliancy.
The poem, by Sem Benelli. is mas
terpieCe of literary grace and power.
and has held a place in the aHectlohs
of the Italian public that demanded 1or
IL treatment no less sympatnetic any
powerful in its artistry than that
which the poet has bestowed. And ooth
composer and dramatist found worthy
interpretations at the hands OF 1ne
company, whose personnel huhnoei
singers of the first rank. whose reputa-
lions and careers are IN the 1ull iiofh
lug or their splendor.
The production has the benent OF
the presence in the cast OF Loulsa VI
lani. as Flora. 1t was VILLAIN VINO
created the role at La Scala, Milan
and she identifies herself with II both
in singing and acting with compete
ness that makes it wonderful con-
tribution to the operate stage.
The great episode of the opera is the
scarf scene in the second act. 1t was
we'll PLAYED and ma gnificently sung
the drama unfolding in the current
of melody amid scenic SURROUNDINGS
of majestic solidity and vast perspect-
i've. Especial reference had been mace
to the scenery. and it merits the es-
pecial consideration given II IN tne
announcement. even though the ol :
binary theater has not the space 10
display its full extent
That rare bird. the tenor. was pres
ent in glorious proficiency Zenateiio'
as the lover. is figure of rare inter
est George Baklanof, as the nus
band. earned a share in the ovation,
which included a full measure OF ap-
probation for Mardones. whose splen-
did basso found expression in the role
of the blind king. The audience would
not be satisfied until the. conductor,
Noranzoni, had been brought to view,
bowling his acknowledgements. and
then insisted on the appearance before
the footlights of Rabinoff himself.
The orchestral treatment demands the
most minute delicacy, combined with
breadth of expression. The Wagnerian
right to a pedestal beside the German
master as a singer of death and terror
rs he becomes in the last act. But the
Italian composers right to a place
among the loftiest as a singer OF love,
in the second act, cannot be challenged
The Pavlowa contribution had a
strong local interest. introducing as
it did the great dancer and the Ballet
Russo in The School of Crinoline. by
Mrs. Christian Hemmick 1t is deco
rative fancy, in which quaintness Is
quite as important a factor as physical
grace. The compositions of Cha minade
Were used for the purposes OF the
music The crinolne display gave
charming effect to the scene. Nolinine,
al a sort of combination of Pierrot and
Harlequin, gave one of the most pleas
ant demonstrations of dancing that he
has offered during the present en-
gagement The bits of character de-
lineation carried through the dance OF
PavIowa and her assistants were de-
licious. and did not prevent display
of dancing as higher order of mod
ern art.
Tonight's presentation of La Bo-
heme" concludes the engagement. so
great has been the interest in the per-
Torrance of Tamaki Miuri that sup
Elementary performance of Nine. But
terfy" is in contemplation.