Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-11-16
"MAROUF" TO OPEN
OPERATIC SEASON
Work by New Conductor of Bos-
ton Orchestra Chosen hN
Gatti-Casazza

What promises to he the most bli.,aut
end successful operate season SINE the
beginning the war will open next Tues
day evening at the Metropolitan opera
House, with "a performance of Henri I.dbauds
opera, "Maruuf, the rChbler of Cairo" The
signing Of the alinist.ce cleared away ~,iIe
clouds other than those Of war. and alrrng
them was the apprehension that the opera
season might be beset with the Sarur ditI-
cultle@ which it has experienced during the
last tour years. The cessation of hoSti'ties,
howeNer. has removed that fear. ana opera
lovers and management alike look forward
TO a successful season
Ii Is indeed a delicate cunIplinen, tnIt
Signor Gatti-CasaZza paid TO Eabaud who
is the new permanent conductor ui the
Boston Symphony Orchestra. ny presenting
his opera at the opening "f the philddei-
phid season.
From arabian Nights
The opera is new to PMiladelphislIS The
text is by Lucieu Nepoty who got the basis
of the story from that old Arabian Nights
tale which so charmingly DEPICTS the rise
Of the harassed cobbler from misery and
obscurity 20 wealth and fame
The story is simplicity itself Marout, IA
Cubble" # Cairo. Is henperEed husband
Of Egypt, whose wife. Fatimah, demands
that lie bring her cake Of bees honey.
After vain search for such treasure. the
unfortunate Marouf decides to sub
stItule ana presents MS spouse Wilh Il cake
of sugar cane Fatimah. who appears to have
been a lady of perception we'll as char
acter. has the luc!iieSs MarUuf soundly
beaten by the Kadi N ne streets Of the
towl Weary Of the struggle Marouf joins
a party Of seafarlnG men. and they start
for foreign shores.
The next act shows Marouf almost dying
as the result Of Il shipwrrck He is found
by Il wealthy merchant Of Kaltan, city
net far from his native town. In the
pleasant Arabian Nights fash II ia" pair
discovered that they had been uOyhood
friends. The merchant attires his friend in
magnificent garments, cirCulateS the story
that Marouf is the wealtniest caravan owner
in the world and finally takes him 10 the
Sultan, where all treat him with the reNer-
enCe whirh the tale Of great riches has ever
inspired in the hearts or men from Sutans
down TO suffers.
LiOnized by sultan
The Sultan showers Marouf with = I'D and
honors. and even offers his daughter the
Princess Saamchedne, n marriage, The cob
bier is taken to the p1IaCe. but the wonder
fuI caravan fails TO put in an appearance.
although Marouf had assured the Sultan
that it was coming. Finally Marouf con-
fesses the whole story to the Princess. w"n-
dering what the Sultan viii do when he finds
it out. The unflial daughter, however, sees
only the huge joke which had been played
on her royal parent. She also acknowledges
deep love for AIarouf, and dressing herself
as a boy they flee together from Kaitan.
In the last act Uhe hfth) the fugitves
find in field piece of stone. TO which Is
attached that familiar and potent old friend
of the "Arab!an Nights"-a magic ring. The
Princess seizes it and in the twinliling Of an
eye an elderly laborer who had been plough
ing nearby is transformed into genie OF
extraordinary powers, a slave of the potent
ring.
Meanwhile the sultan is coming hard
1yG
wishes. The eX-Cobbler's only wish is TO
get that caravan there ahead OF the Sultan.
He " shes and the caravan arrives on tine,
10 the complete bewildernrcnt of the sultan,
who comes up Immediately. The curtain
falls on a scene Of happiness and chorus
Of praise to Allah. It was a narrow escape.
The music which Monsieur Rabaud has
set to this charming little fairy tale Will
be awaited with much Interest. The opera
is spectacular, Of course, and the story
allows the greatest possible range Tor the
Z ,mposer to express the various human emo
tions, which, with the exception of sorrow
are in evidence during the five acts of the
opera. Rabaud, so far as ,his work is known
here is not an extremist either IN harmony
or in Instrumentation. and while not aVerse
10 the use of the dissonances and unrelated
chords which are characteristic OF the
modern French composers still he g not a
foe of definite melody, and his orchestra
tion is colorful and, above ALL guided by
common sense, rather tIdn ny inc utteFHlllld-
ton to use all the instruments all of the
time
Conductors Opinion
Speaking of "NTarouf," NJ. = ere MonteuN,
the conductor and the friend of the COM
poser. said:
II have been asked, TO what school of
music d .es "Marouf' belong; what infiu-
ence does it show? l reply none and
that is the finest praise | could give It's
author Marouf' is a clear, logical and
robust work which could demonstrate best
and most acceSFibly and agreeably the admir-
able evolution of French music in recent
years
For the spectator the work is seductive,
alert varied amusing. For the musician,
the orchestral score Is capt waiting ramble
amid polyphonic inventions and contrapuntal
ingenuities of the happiest Kind, which
thread the delicious eatanglement Of themes,
wrought with light and sure touch to
accompany the fantastic adventures of
Marouf To unite so much strength with
90 much grace Is a rare tour de force. For
that very reason Marouf Is masterpiece,
and / do not know nay similar work which
could be compared with IT,"
The oDera was first produced at the Opera
Comiaue in May, 1914, just before the OPEN
ing of the war, Ut also had hearing in
New York. On Tuesday evening the title
role will! be sung by Giuseppe De l-hca and
the part of the Princess by Nine Frances
Aida Others who will appear In the cast
are NJ. de Seiurola, Rassl, Reiss, Bada and
Maiatesta. Kathleen Howard takes the part
of Fatlmah