New-York tribune., 1918-02-24
Il Puritani Revived at
the Metropolitan
The Old but Still Pleasing Opera Creates Great
Deal of Enthusiasm, With Barrientos and Lazaro
as the Particular Stars of the Occasion

sweet choral and orchestral sound, like sun
lit ripples by gentle zephyrs blown. She
charmed her house in bridal fincry from a
Paris Of much later than Bellini's day, first
gown of shimmerinr deicacy shot through
with the fire of opal hues, then shining
duplicate of it in white. Flora Perrin, too,
as Henrietta Maria, qucenly beauty, in
jetted black, with only solitaircs and a rope
of pearls, would have been a model for Van
Dyck."
Pitts Sanborn, in "The Globe" declared
that
"As Elvira Mrs Barrientos, though in a
part written for Grisi, did the best singing
have ever heard from her in any part, not
only as regards quality Of tone, but in speed.
rhythm and phrasing. Tho audience applaudcd
her thundcrously at the end of 'qui la voce.
She was always distinguished figure
w HILE fully appreciating happy mo-
ments and a high D, the critics
were practically united in pronouncing the
work of he Mctropolitan's new tenor,
L.azaro not yet sufficiently smooth to per-
NIT of a full estimate of his vocal gifts.
At each Of his appearances within the last
few weeks, according to the critics. Lazaro
has manifested an extreme nervousness
actual stage fright it was in one place
suggested, such as "is seldom seen outside
the realm Of the pupils recital" 'He has
temperament and dramatic instincts, and
he might sing with more finish and repose
if he had himself under better CONTROL"
observed "Thc Sun" In The Evening
Sun" it was recorded that, though he was
forced to thrust his voice far above
'couds of nervousness" before it took on
the gold of his South American sun
shine still, having accomplished this. "at
such heights it was electrifying."
Mr.. de Luca in Tamburini's part of Ric-
cardo achieved much praise, as did also
Mr.. Mardones. whose voice, one critic
wrote. sounded so beautiful in the music
of Giorgio that one regretted the role is
short"
As for the reception accorded this re-
vival, "The Evening Sun" said:
1T was an evening Of cheerful riots.
Such bravos and applauding were supposed
TO have dwindled out of date in this era Of
lukewarm politeness-but there was no hold
ing the old fashioned demonstration that met
the old fashioned opera. sung to the galleries
old fashioned way"
In "The Times" appeared some inter
esting comment on the composer:
"Belini's brief span Of life suggests that
OF Mozart, the even shorter career of
Schubert. among the great ones beyond the
Alps. The Italian mclodist-for he was
called sweet singer rather than scholar in
rnu Sic--lvas horn j SicilI- II, 1901 and diod
at Paris in 1885 soon alter 'Puritan' was
produced there His fellow townsmen Of
Catana a half century later took his ashes
home to Italian soil, with the same village
pride that they or their fathers long ago had
shown in sending the young Rellin at public
cost to stNdv music and seek his fortune in
Naples. Rubini. the greatest tenor OF that
day, sang at Milan in the young composers
1lrst successful opera, The Pirate title
reminiscent of Walter Scott just as some OF
the names in 'Puritani' are hauntngly Ike
SCOTS romances with which apparently
Count Pepoli's imaginary lords and ladies
had no concern connection whatever
"The significant period of Bcllni's life
was in the year 1881, when he produced La
Sonnambula' at Milan in March, followed by
Norma in December. He leaped into uni
versal favor and made triumphal progress
to London and Paris. The 'Puritani' season
was long remembered in European capitals
While Rubini was rchearsinG his part Bellini
compelled him to follow not the singers
idea, but the composers as to the style in
which the arias should be sung. Don't YOU
know what love is? he demanded OF the
tenor, adding, Don't you know your voice is
gold mine that has not been fully eX-
plored? You are an excellent artist but
that is not sufficient. You must forget your
self and represent Gualtiero"