The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1919-06-21
COMMUNITY OPERA
SCORES BIG SUCCESS

A capacity house, except for a few
boxes, and a truly brilliant per
! Torrance Of Balfe's bohemian GIRL
at the Belasco Theater last evening
was a real climax to the achieve
ments of the Community Opera of
Washington, whose entire presenta-
ton needs no qualifications because
of its being "out of the community.
1t represented in all about 165 people
How It could have been done by
any but an excellent professional or
ganization is a wonder! Had II oeen
the result of years of effort 1T would
still be a surprise and a qualification
that can annul for all time the COM
mentary that America is an I'M
musical land.
Some master head and hand has
| impelled the thought to so rich
| fruition. To Edouard Albion, as gen.
eral director. must be attributed the
great gift of bringing together all
| the artistic forces and all the great
spirit and enthusiasm that has gone
into the making Of this most success
| full opera company of Washington
Fostered by the War Camp Com
munity Service, for Washington and
her war-workers, wrought through a
| large corps OF co-workers, the Com
munity Opera of Washington is a
source for genuine pride to the Ma
tional Capital
All Parts Excel.
There was an excellence in princi-
] pc n, chorus, orchestra, in ballet, cos
tn mes, settings, and in the constant
picture of the opera that was ever
alive and full OF dramatic meaning.
The undue length of the operator
it did not close until midnight-was
| unfortunate, but it held its audience
| until the close.
Gretchen Hood sang the role Of Ar
line brilliantly and unsteady. Her
voice was full and true and she
proved a prima donna in coloratura
excellence and in the surety of her
high voice, while she gave a pic
turesque and spirited portrayal. The
Devilshoof of Hollis Edison Davenny
could rank in any performance as a
dominant note. His bass-baritone Is
resonant and compelling and he sings
with style and character. He is an
admirable actor.
James K. Young mas a lyric voice
of much sweetness that brought out
the righteousness of the score. 1t
is musical throughout its entire
range. And Marie Culp sang the
Gypsy Queen" effectively, rising to
her richest contralto moments in the
ensemble work. Oliver Medium as
the Count completed a noteworthy
quintet with his mellow baritone
voice. The ensemble numbers Of duet,
trio, quartet and quintet were all ex-
cellent. Frederic L. Pratt, Walter
Matson and Anna Clarke completed
the cast.
Chorus Proves High Point.
The chorus OF 100 again proved one
of the high points in the opera. Its
singing was delightful; full-voiced,
clear-cut and professional in it's free
dom. In the picture. too, they were
an acting part of the scenes, while
the ballet with Camille Little as solo
dancer added color and life to the
spirited whole.
The orchestra, under Rollin Bond,
gave excellent support throughout,
bringing out the lyric moments Of the
score admirably.
The Bohemian Girl" as an opera
is an anti-climax, and drags at it's
close. Yet. here are some OF its
! most appealing ballads that were all
well given. The climax comes in the
second act. Had it closed the opera
one would remember with a real
thrill of admiration the briIIiancy of
the achievement of Washington's own
opera company.
The bohemian Girl" will be re-
peated this evening.
J. Mach.