Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-03-19
Opera by Xavier I.erou.

The Metropolitan Opera Company last
evening gave the first Philadelphia pcrfor-
nance of Xavier Lerouxs opera. La Refine
Ffannette," work which required almost
the entire resources of even that great com
pany, for there are twenty-three in the cast
and n vast number of extra persons while
the scenic demands are as great as in any
opera which has been seen here for a long
time.
Probably one OF the chief reasons for tho
production of the work, aside from the fact
that Mr.. Gatt-Casazza Is always on the
lookout for worthwhile novelties. Is that
the part of Fiammette is admirably adapted
to the dramatic talents of Miss Farrar who
is unquestionably at her best in parts like
that of the hgh-spirited. impulsive queen
who was the heroine of last evenings opera
and who goes cheerfully to her death for
the sake Of her love.
Miss Farrar both sang and acted the part
to perfection. She was in better voice than
she has been at any OF her performances
or this season in Philadelphia, her upper
notes being especially clear in quality and
free in utterance. There is little need to
dwell on her dramatic abilities. 1t is suf-
ficient to say that the opera gives ample
scope to them, and Miss Farrars dramatic
instincts and training did the rest She was
especially good in the closing scene, where
after defying the Cardinal she and her lover
proceed calmly to the executioner
or the others in the immense cast Leon
most convincing character. impressive in
appearance and dignified in action but with
plenty of vehemence where the part REQUIRES
lie gave rendition OF the part that was a
revelation to Philadelphians at least as to
MS vocal and dramatic abilities His voice
IS deep' rich and OF fine quality and volume.
Adamo Didur, who made his first appear
ahce mere for some time. did well in the
somewhat ungrateful part of Giorgio d'Ast,
a character obviously not adapted to OK
talents ha has
vantage. Hipolto Lazaro. in the tenor role
Of Danelo, sang and acted well. but II is
no easy matter to play tragedy part
against the artistry of Geraldine E,rrar
"hen she Is at her best as she was last eve
nlnR. The others In the cast were all rela
lively minor parts, but were adequately
taken, especially the part Of the three little
testers sung by Mary Ellis, Leonore
Sparkes and Kitty Beale.
Musically the opera is rather difficult to
define accurately. 1t never rises to very
great heights, but 1t can by no means be
called commonplace. 1t inclines somewhat
toward the Italian (PucclnD style OF mel
odE and is only remotely touched by the
modern French harmonic system. Here and
there are exquisite bits of melody but they
are never carried to their logical conclu-
s!oEs. Some Of the scenes are longer than
the dramatic and musical interest of them
warrant, and the music does not always carry
out faithfully the emotion depicted by the
stage action and rarely has the bite, Of
real tragedy. Mention, however must he
made of the artistic restraint shown at the
close Of the third act where the Cardinal
orders the Queen under arrest without n
spoken word. and as she leaves in silent ter
ror the curtain falls to two pzzicato notes
In the basses instead OF the thunderous or
chestral tumut which most modern COM
posers would have written. In the orches
tration much discretion is shown, and there
Is none of that abuse of vast resources
whlch mas been so conspicuous feature of
orchestral composition both operatic and
symphonic, since Richard Strauss showed us
how many sins brilliant orchcstration can
be made to cover.
The staging. both In scenery and in cos
tunes was superb. The opera in every scene
was picture to the eye, and Mr. Ord ynsl<is
efforts We're amply acknowledged by tbs, large
audience. -