New-York tribune., 1918-02-24
<xT IT'S EXCUSE? 'Lazaro and
R Barrieqtos must answer that

D.'A'iSHVoS uipSl answer lndl
Question-not t. Mr.. Gatti was
Quoted the other day as saying. No need
of further explanation"
At least, not in the opinion of Sylvester
Rawling, writing in "The Evening
World But other critics found the
ancient work a thing we'll packed with
beauty and musical significance; work
its own feet. For example, one read in
The Tribune
"Bellini was 4 master Of style and a
fountain of melodc ideas, and no one of his
works is n more absolute proof of this than
J Puritani If only the composers Of Fran
cesca da Rimini' or Marouf' could exchange
three quarters Of their orchestral mastery
for tithe Of the lyric ecstasy which floods
the operas OF Bellin, the world OF modern
opera would take moro hopeful aspect.
we can smile at the naivete Of 'Puritani. but
IL VIC have ears to hear we will listen en-
tranced.'
Another need of appreciation appeared
in "The Evening Journal:
at is altogether the music Of Bellini that
IS of Importance in 4 Purtani' and not the
Puritans. And the music does not seem to
fade with time After each lengthy interval
OF quiescence-largely for lack of singers
adequately to give Belini his due-the mel
odies emerge to the ear once more with the
suave appeal OF their genuine beauty and
aptness, and the light but fluent and nicely
adjusted orchestration supports them buoy
antly. Moreover, every fresh revelation of
Bellini makes it quite clear how much those
who came after him owe him
Admitting that the revival had been an
ranged mainly in order to provide a
background for stellar persuasions. the
stars in this case being Maria Barrientos,
expert In vocal pyrotechnics, and Senor
Lazaro, who can scale the tenor staff with
aplomb away up to high d natural" Max
Smith. writing in ''The American." main
tanned that
"Belini's music is interesting enough and
beautiful enough. quite apart from the oppor-
tunity it offers FOR the bel canto gymnastics
so much to the liking of the public even r
these days, to be heard for its own sake And
1t seems regrettable that the music should be
treated, as it usually is. and was last night
with much more regard for the singers than
for the composer. Some OF the most striking
pages of the Scorc-passagcs that disclose
sense OF dramatic effect and a grasp Of emo
tlonal values nothing short of remarkable if
one considers the date of the composition
were inspired by loftier feelings than desire
TO give Drima donnas and tenors an onpor-
tunity to swing on tonal trapeze; and these
pages which should have been handled with
the utmost pioty and veneration, received
scant courtesy in production to which cv-
dently not too many rchearsals had been de-
voted"
RUI for the most part the reviewers
- found very pleasant things to say of
the manner in which the opera was sung.
One critic felt that Nine Barrientos's
runs, trills, staccati and other floral ef-
forts" were all excellently, even brilliant
ly, executed, although her frequent
change of timbre was less pcasing' An
other critic decided that to this singer 1.-The
revival brought real honors.' finding her
singing better than ever before singing
"daintily and with fnesse'
THE Times wrote:
Mime. Barrientos, on her mcttle last light
reached in Elvra's mad scene a high L fiat
of Ventriloquial brilliancy and power that
properly brought down the house. She had
never sung here in fuller voice or with surer
touch, welcome reinsurance when the
others faltered sometimes. The thin ice of
that voice. with it.; peculiar charm Of aris-
and melted in the melodious sunshine of Bel
iini, the Swan Of Catania.' Or, BY another
metaphor, the flmy, lacy caress of Bar
ricntos's tones cell asant the great river of
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