New-York tribune., 1918-09-05
Opera

General Manager Giulio Catti-Ca-
sazza yesterday followed up his recent
announcement Of the premieres of
three new Puccini one-act operas at
the Metropolitan Opera Hoase by the
equally interesting announcement that
he also will produce during the season
two new one-act operas by American
composers. Hitherto the American
composers whose works have had a
hearing at the Metropolitan have been
well known to the American musical
public Converse, Parker, Damrosch,
Herbert, De koven, Gilbert and Cad
man. The two fortunate ones this year
are practically unknown. They are Jo-
seph Charles Breil and John Adam
Hugo.
Mr.. Brel's opera is entitled "The
Legend with IA book by jacques
Byrne. 1t is dramatic episode, the
! locale of which is remote district In
an imaginary Muscovite country
Breil is the composer of several sue
cessful popular songs and has learned
MS technique as an operate composer
by writing incidental music for big
cinema productions.
Mr. Hugo is piano teacher in a
suburban town. He studied to be a
concert pianist in Europe, but his
health broke down. He has composed
some chamber music besides the opera.
which is entitled 1.-The Temple Dancer,'
the book by Mrs. Jutta Bell -Ranskc,
being sort of evocation of certain
traditional religious rites of the
Hindus.
"The scores were submitted with at
least twenty-five Others" said Mr..
Gatti yesterday. Neither Mr.. Breil
nor Mr.. Hugo had influential sponsors.
Without knowing who they were or
where they came from, only having the
assurance that they were Americans, /
concluded that their operas were the
best qualified for production among
production will be another step toward
the establishment of an American
school opera. Mr.. Cadman's 'Shanewis'
Will also be retained in the repertoire."
The San Carlo Opera Company gave
two performances last night at the Shu-
bert Theatre which in some respects
would have done credit to any opera
house in the country, not excepting the
Metropolitan. The operas were Ca
'valleria Rusticana" and "Pagliacci," and
both little works Fortune Gallo's
artists gave with a most admirable
vigor.
Elizabeth Amsden and Romeo Bos-
cacci gave moving, vital. passionate
enactments of their respective charac-
ters. Miss Amsden's voice did not re-
/ quire the forcing she sometimes
thought necessary, but it is voice Of
an unusual quality, especially in it's
upper reaches.
The Canio OF "Pagliacci" was Manuel
Salazar, the Spanish tenor. whose ap-
pearance last season created senss
ton. SalaZar possesses voice which for
power and richness is of the first oroel-.
Salazar was loudly applauded The
Media was Estellc Wentworth, Of light
opera memories. Angelo Antola was
admirable as Tonic. far more adnira-
bic tnan as Rigoletto. \ good word.
too. should be said for the Silvio o.
Luigi Dellemolle. The singing of the
chorus was excellent in both operas.
The afternoon opera was "The Tales
Of Hoffman" There were amusing mo-
ments in the first act and the Olympia
OF Queena Mario possessed consid-
erable vocal f1eXibility, but the Often
bach opera requires treatment of a
delicacy impossible in a troupe trained
IN the modern Italian school. The
cast included Giuseppe Agostini in the
title part, Stella Demette, Marta Melis.
Natalie Cervi, Joseph Roger and Pietro
de Biosi.