New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-01-27
Carnpanini's Artists in
"MOnna Wanna
Memories of the Famous Hammersten Venture Are
Stirred by the Arrival of the Chicago Company. The
Opening Is Brilliant and Promising

as the husband, had his turn at the foot
lights a few minutes before midnight One
of the novel features was the summoning of
the crowd from the Hobbies by an army bugle
call"
Mr.. Max Smith, in "The American, F."
saw, as did the other critics, in this theme
of rivalry the pivot of special interest.
He said
'For few hours, at least, the fortune OF
war smiled upon the invading army that took
the Lexington Theatre by storm after long
and arduous preparatory campaign. How,
indeed, could any one resist the temptation
to witness the coming of these intrepid West
erners and to cheer them in their gallant
fight against heavy odds? Was it sur
prisIng that the demonstrative throng Of
enthusiasts which appauded so generously
the efforts of Sgnor Campanni's bellgerent
forces included more than d few habitues of
the Metropolitan Opera House, several of
Giuio Gatt- Casazza's songsters and per
haps even one OF two directors of that
mighty institutions"
u UT now for the opera itself and it's
~ Interpretation. In "The World" one
reads:
Set to the lbretto of the Maeterlinck
drama by Henri Fevrier, the music is sutli-
GENTLY rugged and sombre to properly clothc
action and text.
yet it fails to touch sustained height,
though it has moments in each of the three
acts which are fundamentally colorful and
vocal utterances for the leading characters
that carry the desired effect. Had Fevriers
score come to us before ears had become
accustomed to the music of greater modern
lists than he it would have reflected a quality
less reminiscent in both method and themes
"Thc pictorial and dramatic strength of the
second act, however, wherein Norma Wanna
goes to give herself to Prinzavalle to save
her beloved Pisans atones for much that is
unsteady commonplace in the first and con-
Guiding acts"
The Sun" considered Fevrier's opera
"a good, workmanlike production, written
with knowledge and skill, if not with inspira-
ton. III 1t never rises to great heights it also
never SINKS to lower levels. 1t is never cheap
nor mean in its musical attire. The big scene
between Prinzavalle and Norma Wanna is
we'll written, and in the hands Of two such
artists Muratore and Mary Garden it is
bound to have its due effect
Max Smith said he thought it "whollv
unlnspired and uninspiring," and added
that even among the authors country
men Fevrier has hardly any standing"
But most of the critics agreed that the
work is possessed of both charm and
power, even though these qualities arc
not constant
The two artists who reaped the major
share of applause were Muratore and
Mary Garden The singing of the former
was rewarded by a most unusual ovation.
In "The World" one finds this valuation:
Though disclosing no smooth cantilena in
ms duleter phrases, Muratore rose to his |
heroic outbursts with an emotional vehe-
mence and a vocal resonance such as has not
been equalled here in many season. Strict
ly speaking, it was the French tenor's night
and the reception given to him after his big
scene was long and lusty, He still carries
his open too high for vocal safety and
tona beauty. but his acting has grace, force
and distinction, and those who revel in the
long held high note had their full of it last
night. After the style Of singing in which
Muratore scored SO triumphantly last night
1t will be interesting to hear him in a role
that demands repose and perfect legata
"Miss Garden, whose personality is as com
pelllng as ever got reception that must
have taken her back ten years to the hey(ay
OIL her Manhattan conQuests. The American ,
soprano still sings with that strange uneven
ness peculiarly hers, but there is something
III what she does unsteady and hstronical-
ly that the public likes and which compen-
safes for shortcomings manifest to the critic"
"The Herald" says:
There are tenors here who sing more
beautifully than Mr. Muratore but proba-
fly none put more passion into their voices
and INTO their acting. 1t is indeed refreshing
to hear a tenor with ringing, brilliant voice
who puts real singing into his singing
Miss Gardens operate work IS familiar
IN New York Her voice has not improved
since her engagement with Mr.. Hammerstein
at the Manhattan. But such was the subtlety
and charm with which she presented the
role OF Norma Wanna that voice and music
were forgotten. She was a striking picture
and her tense manner kept all eyes glued
upon her"