Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-12-11
METROPOLITAN GIVES
TWO POPULAR OPERAS
New Singers Heard in "Cavaueria
Rusticana" and ''Pagliacci''
With Famous Stars
CAVALLERIA RUSTICANA

The Siamese twins Of grand opera, "Caval-
leria Rusticana" of Mascagni and Leon
caValios "Pagliacci' had fine performances
at the Metropolitan Opera House last evening
before capacity audience that was keenly
alive to every new feature as well as >all
of the more familiar ones presented by the
sterling casts that gave both works.
"Cavalleria Rusticana' came first, and the
outstanding point of interest in the opera
was the work of the new dramatic soprano,
Rosa Ponselle. who made her debut in Phil
adelphia and her first appearance as Santuz-
"a on any stage.
1t is not going too far to saw that she is
distinct acquisition to the forces of the
Metropolitan Opera Company not SO much
for what she is now as for what she promises
to be- Her voice is a clear, high soprano
not extraordinary in power or range, but of
exceptional sweetness and eveness through
out its entire register. Equally important
is her strong dramatic instinct which was
given full scope in the vivid role of San
tuZZa.
Miss Ponselle can hardly be termed fin
ished artist yet, but she knows now a great
deal more than she has yet to learn. Her
acting Is bit exaggerated here and there
and her gestures sometimes lack the convlnc-
ing grace of the more matured artist, but
these are things which time and experience
will easily correct. Added to her many
gifts are fine stage presence, the fire and
enthusiasm of youth, an intense personality
and a generally unerring feeling for the
strong dramatic points. Few singers have
made successful debut in SO exactng a
role, and If Miss Ponselle develops along the
best lines she has undoubtedly great fu-
ture.
The opera as a whole was very we'll pre-
sented. Sophie Braslau was lovely to see
charming as to voice and convincing dra-
matically as Lola. and the same may be
said for Paul Althouse as Turddu Mario
laurent made an acceptable Alto, al
though the part at times seemed to be too
low to suit his voice, which occasionally
lacked power in the lower register.
In "Pagliaccf' there was also the attrac-
| ton of new singer, Luigi Montesanto, in
| the part of Tonic, and, of course. the i'm.
| comparable Caruso as Canio. Signor Mon
tesanto scored a great success at the start
| when he sang the famous Prologue and got
more than half dozen curtain calls. His
| voice Is of fine quality, especially in the
| higher register, where it has extraordinary
| resonance and power, but also retains the
baritone quality.
His dramatic work distinctly improved
after this success. and following the Prologue
left nothing to be desired. He gave whole
one Of the most convincing interpretations
| of Tonic that has ever been seen here. His
conception of the role perhaps lacks the
breadth and the sang froid of Tito Ruffos g.
but there is far more attention to detail
and less Of attempt to draw attention
| to what is, after all, the secondary male role
| of the opera, despite the elaborate and beau
| tifu music assigned to it.
Caruso is at his best in the part Of Canio,
| his undeniable vein Of humor and his keen
| understanding OF his own people fitting hin,
| to give the role as no one else can give It. Or
| his marvellous voice 1t is unnecessary to
| speak, but his passionate aria. or rather dec
| lamation at the close of the first act, "Recitur
| mentre preso dal Delrio," reused the au-
| dience to so high pitch of enthusiasm that
| he was able to complete it with difficulty, and
| was recalled many times.
| Florence Easton made a lovely Media
| both singing and acting the part we'll. Her