Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-12-04
"TOSCA" FINELY SUNG
BY THE METROPOLITAN
Muzio, Crimi and Scott Score
Vocal and Histrionic Triumph
i'll Puccini Opera

The somber story of Tosca, with the vivid
musical setting by Puccini. was finely sung
and tensely acted at the Metropolitan Opera
House last evening
Few operas, old or new, have music which
fits the dramatic situations as accurately and
follows the emotional content OF the story
as closely as does that OF "Tosca," and this
applies with equal force both TO voices and
to orchestration Added to this. which natu-
rally requires the most consistent vocal
rendition, Is the fact that the entire opera
demands acting OF high degree from both
principals and minor characters
These varied demands were met most sue
cessfuily by the Metropolitan Company in its
presentation last evening Muzio Crimi and
SCOTT naturally carried away the honors al
the chief characters. All were in excellent
voice, and carried out the difficult hstrionc
requirements or the work In as fine style as
has ever been seen here. Muzio's clear
soprano was more than equal to the severe
demands OF the part, and showed to especial
advantage in the exquisite passage mon Ia
sospiere' in the duet with Cavaradossi in the
first act and in her imporing appeal TO
Scarpla. 'Nissi dsrte viss damore," at the
close or the second. although the intense
dramatic situation at this point Is apt to dis
tract even the attention of the singer from
the music itself.
Crini showed a beautiful tenor voice Of
good range a.a equality of tone throughout
He sang especially we'll the delightful aria
Recondita Ammonia" in the first act and tho
mournful soliloquy. "E lucevan le Stelle." in
the third. There was Il slight tendency to
force the upper tones 4 little in the more
intense situations due, doubtless, to the high
emotional tension at these points, but
throughout the quality was excellent, and he
sang and acted in the best OF taste.
Scotti again revealed himself the incom-
hla lie xyplc 1E tn, tl,a
best of condition In the first act, but showed
wonderful improvement in the second
while his acting OF the part was perfection,
as 1t always Is The savage soliloquy, "Va
Tosca, mel tue Cuor," at the close Of the first
act, was given with such dramatic effect as
to cover sonle lack of vocal power. This
however. was not apparent in tho next act
which was finely sung.
The opera throughout was acted with a
spirit and consistency rarely equaled. Muzio
especially revealed nn amazingly high con-
ception Of the dramatic possibilities of the
part of Tosca, particularly in the second act.
where her work with that of Scotti reached
very high point of stage presentation,
leaving entirely out of consideration the diff
fcult vocal parts Crimi also showed good
histrionlc powers. although nothing in his
part calls for the intensity shown IN the
scene between Tosca and Scarpia in the
second act Mention must also be made OF
the good work OF Pompilio Malatesta as the
SdCIiSthll, part requiring Juu6
ment in acting in order that It be not over
done, although not making any great vocal
demands.
The staging of the opera was on the high
level always maintained by the Metropolitan,
the setting Of the final act being especially
fine and true TO life. Roberto Moranzoni con-
Quoted the work with care and Skill. bringing
out the numerous orchestral beauties un-
errngly. and it is indeed doubtful if many
opera-goers realize how richly this opera is
scored. From the three gloomy chords the
Scarpia motif. which take the place of an
overture until the tragic close. the audience
was held In rapt attention, and the principals
receiYed manY deserved curtain calls.