Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1916-01-26
As Santuzza in "CavalIeria''
She Repeats Former Sue
cess in Role OF aida
8. hAlLETI E. AaENo,

The old saving that SO few grand
opera singers know how To act long
ago took its place In the list OF "hro-
mides." bat bromide or not IL Is very
true, and the scarcity of really able
actors and actresses among opera
singers Is accountable for occasional
phenomenal successes made by stars
whose voices are by no means eNcep,
tional, but who have magnetism.
charm, a good stage presence and who
know how To act, r. 49, ~. -.
To claim that the performance OF a
grand opera principal should be
Judged solely on vocal merits Is alb
surd Voice Is essential but opera is
complex thing, usually built around
a moving and tragic plot The appeal
TO the emotions and the imaginations
Is heightened In every possible way
by costuming, scenery and all other
theatrical devices. Ii good acting Is
not an essential To good opera. the
principals and chorus might as we'll
appear In modern clothes against u
plain drop curtain and stand motion
less and sing "..s. -.
Ruled by Tradition. =...s. g.. ~:
The handling OF most of the major
rules has become standardized. Tradi-
ton of the operate stage pfescribes
that Marguerite must do so-and-so in
the jewel scene that the gestures of
Lohengrin at certain crisis must be
of certain kind.
The dissatisfaction of the public
with cut and dried modes of interpre
tation of opera is what contributed
largely to the instant success in Ho-
nolulu of Johanna Kristofty, whose
Aida" was Immediately recognized as
something different 1t is her abil-
ity as an actress, rather than any
great superiority OF voice Though she
has that, too) that made Kristoffy a
fayorite here, ~. -. ~. ~.
Praise of Kristoffy must not be
understood as disparsgement of Emf
liza Vergeri Nine, Vergert is cap
able soprano, with voice Of great
sweetness, and she handles all of her
roles In the prescribed manner. That
is just the reason that Nine. Vergeri
merely satisfies her audiences, instead
Of moving them TO enthusiasm.
AS Leonora in I'll Trovatore" Yer.
geri does What all the other capable
Leonoras have done-the same is true
OF her Gilda In "Rigoletto," and her
other roles Only as La Gioconda. has
she shown momentary flashes of real
originality and moving charm.
Proves Her Ability.
Until last evening Kristoffy had
been heard In only one role, Aida,
and her second appearance was await.
ed with curiosity by those interested
to see IL she had versatility, or If she
had merely one manner" AS San.
tuzza in "Cayalleria Rusticana" last
evening, however, she amply justified
previous estimates of her ability, and
by contrast made the other members
of the cast seem mere wooden pup.
pets.
Kristoffy last night was not merely
an opera singer, moving about the
stage with measured steps, her eyes
forever on the conductors baton, and
with prescribed gestures for each
stage of emotion. Instead il seemed
that living woman suffered her life
tragedy before the AUDIENCE won.
an whose love and passionate zeal.
ousy, hate and despair found spontan.
eous expression In music which made
the threats OF her hearers tighten, and
In some instances made eyes wink
hard to keep back tears. And that is
true operate art
De Foico Did Not Sing.
De Foico was again unable TO sing
last evening. and the resulting change
of cast gave Guiliani the role of Tur.
ridu In Cayalleria. His voice, though
very sweet, did not stand up under
the strain of the part. Galazzi.
though billed as Alto. did not appear
and Gioyacchini handled the part ac.
ceptably. Matilde Renis essayed the
volatile Lola with Indifferent success.