The sun., 1915-11-04
FREMSTAD RETURNS
TO OPERATIC STAGE
Eminent Soprano Heard Once
More as Puccini's Great
Roman Singer.
GETS A WARM WELCOME

Because Olive Fremstad, the superb
Scandinavian ,ddess OF wagnerian
walhalla. did not sing in opera last
season come people suffered vain re-
grets. Some even threatened to suik
In their tents and refrain from attend
ing the triumphant exhibitions OF Miss
Farrar In Carmen" and Mime. Sans
Gene" Naturally the Metropolitan
Opera House continued to perform the
functions for which " was created. but
many OF Its patrons were genuinely
grieved because Nine. Fremstad was no
longer in the company. Last night she
sang the title role in Puccini's ''T'osca"
at the Manhattan Opera House. She
was for the evening guest Of the Bos-
ton Opera Company. and her return to
the local opera world was accorded a
warm welcome.
Doubtless most OF her admirers would
nave been glad to hear her In one OF
her German roles, but these Pavlowa
Bostonians do not wander In the ways
OF weary Wotan nor daily with the
foolish fondness OF doddering King
Mark. They are addicted only to Italian
opera. with an occasional dash Of
French. And 40 Mime. Fremstad ef-
fected her return In what is confessedly
treacherous role and Is known TO be
not one Of her best. But she certainly
does look the broad natured. voluptuous
Roman queen of song. and that Is some-
thing that few of them do.
Glittering In gorgeous array she filled
the eye every moment she was on the
stage, and when before the curtain
acknowledging the many enthusiastic
plaudits showered upon her BY most
friendly audience she was a picture Of
gracious wonanhood. Her impersona-
ton OF Fiorid Toscd followed its familiar
outlines. but in details II showed many
significant changes. Her first act was
restless with feline gaye;y and her sec.
ond sad with the complainings OF a
particularly helpless woman.
There was a superabundance of phys
ical movement. impatient pacings. spas
modic risings and slttings. far flung
gestures OF shapely arms. In cold truth
there seemed to be a resolute attempt
to denote by outward symbols the emo
| tional states which the voice indicated
but did not fully publish. For Mime
Fremstad was not in good vocal condi-
tIon. and her singing. never at its best
| In this role. was very far from II last
| evening.
registers were cold and small in the
| upper range they were hollow. frequently
| more breath than sound. and generally
| unsteady. Her temperamental mag
netism vanished many bare musical
spots. but her real friends must have
! regretted that her operate temperance
could not have been made when she was
In better command OF her vocal re-
sources.
| The other principal members OF the
| cast were Mr.. Zenatello as Cdpdrddosst
and Mr.. Baklanoff as Scdrpid. The for
mer sang his music in his familiar ener-
getic style. Mr.. Baklanoff's deficiencies
in rhythmic accuracy played havoc with
| all his cautilena. hut his Scdrpia was on
the whole a we'll composed characteriza-
ton, showing forth with good theatrical
skill the sinister power Of the minister
| Of police and the contrast between his
sardonic coldness and his feverish lust.
| The opera was not smoothly done as IA
whole, though the conductor. Mr.. Jac-
CHA. disclosed a good understanding OF
the score. After the opera Nine. Paw
Iowa and her dancers appeared in the
new Ballet Egyptienne."