New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-12-31
3, CHENILLE VERNON

NNN hfAhla.N y ILL '.Aft'Nr
THE second Performance Of Fan
1 donais "Francesca da Rimini" al
the Metropolitan Opera House on
Thursday evening served but TO &C
centuate the initial impression that
The work. interesting as it is from the
standpoint Of orchestral color, fails 20
reveal any distinct personality or TO
display more than a hint OF creative
melod.c inspiration. To goes without
saving that Signor Zandonai is a mas
ter Of orchestration. With his instru-
ments he produces combinations and
harmonies never dreamed Of IN the
philosophy OF Donizetti or Rossini
He can comment on the action in
marvellous variety Of tongues; his
palette has multiplied hundred fold
the colors Of the rainbow AIT that
native musical sense heightened by
careful instruction can accomplish rs
Signor Zandonai's. he. like every other
modern. is heir 90 the experience OF au
tho composers from Gluck 10 Wagner.
Like Pistol. the world is his oyster,
which he will open with his learning.
Well. he has opened It, and the result
is. after the nrst act, pale, fat and IN
profitable.
The first act Is charming. Played In
brilliant sunlight, it has in it much OF
the expansion OF sense and spirit which
was the chief glory Of the Renais-
sance. We feel the grateful warmth Of
Eimini: we smell the perfume Of iss
flowers: the songs Of the tirewomen,
the music Of lutte and viol battle us IN
q quiet yet exalted beauty. j. is not
drama bot a lyric pastoral fit prel-
ude TO the blood and passion that are
20 follow. The cad Of the act, the
meeting Of Psolo and Francesca, Is
moment which leads US TO expect much
q moment Of ravlshing, Of breathless
beauty.
All through this act the composer
shows rare taste, just appreciation
Of what he must accomplish; the music
shimmers and glistens, now hurriss
gracefully. now steals languidly on
ward. colorinc the words, the charac-
tiers. The situations in thousand
transfer facets Of light. And at the
end wc lean back IN our seats and
murmur. happily. at last, genius y
The awakening comes swiftly. The
second act, the battle scene, begins
nowhere and ends in mere noise and
impotent confusion. IL is time for
drama. but the drama fails 20 come.
Paolo and Francesca should be the
dominating fgures, whereas in reality
we are left with the impression OF
wooden shields, shuttle-eock arrows,
and a great and foolish noise created
by sicilisn supers. As for the music
we hear none. Then comes the
great love scene, the reading together
from the book Of the loves Of Lance
lot and Guinevere. The act opens well
with more color. color a little less
effective than in the first act, probably
because color begins 20 pail. Psolo
arrives. Now az last the lover who is In
every Italian will rise 70 supreme
heights. we will have a love duet
which will search our souls, which
,siil purge them with accents Of pity
and Of beauty What really happens
or course, Paolo tries 20 sing. He
sings well enough Ia borrowed plumes.
And Francesca sings, too -half-heart-
cdly. Together they read the book
Paolo cries Francesca" and Fran
ccsca "Paolo." and the curtain falls
10 copslete futiliiy. zandonai has
bad hissgreat chance, and he has made