Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-04-16
OPERA SEASON ENDS
WITH GOUNOD'S FAUST
Excellent Cast Gives Good Per-
formance-Scenic Effects and
Ballet Unusually Fine
UST
Opera by Charles GOunod

Opera by Charles Gounod
Faust st................G Giovanni Mnrtinelh
Mephistopheles. Leon Rothier
Valentin tin................T Thomas Chalmers
Wagner. er................L Louis ID Angelo
Msrguerite ite..............Flo Florence EaSton
Marthe Kathleen Howard
onductor--Picrrc Monteux
"Walpurgis Night" ballet and incidental
dances by Rosina CALI, Giuseppe Bonfglio
and corps dc ballet.
Sixty years and one month old. lacking
few days. Gounod's Faust, which closed
the Philadelphia season Of the Metropolitan
Opera Company last evening, gave evidences
of life much longer, Judging from the plau-
dts with which it was greeted by an au-
dence that entirely filled the immense au-
ditorium.
The cast for the closing opera of the sea-
son was by no means an 'all star one, out
the sincerity with which the members pre-
sented their respective characters and the
spectacular effects, which were the best
shown here this season, made up for some
obvious deficiencies. Mr.. Martinelli, in the
title role, gave one of his best representa-
tions. being in fine voice and singing the
part throughout with tenderness, passion or
pathos as the scene demanded. The char
acter suits him we'll both in voice and IN
temperament, and naturally he gave con-
vincing Interpretation.
In the other great male character, that
of Mephistophcles, Mr.. Rothier as
whole was excellent. His voice, which is
especially good in the higher bass register,
showed to the best advantage in the vigor-
Gus "I.e yeau d or in the last scene of the
first act. Strangely enough. after his fine
performance of the Cardinal in La Reine
Fiamette," his lower tones seemed to be not
so good and the vindictiveness which he
showed so finely in this opera was largely
lacking in the ironic serenade 'Nous qui
faites rendormie," which, by the way, was
taken at an unusually slow tempo. How
ever, his work throughout was very good
and his appearance and acting left nothing
to be desired.
Nine. Easton, as Marguerite, gave a
somewhat uneven presentation Of the part.
Nocally she was not at her best until the
trio of the last act, and it seemed as IL she
NIGH possibly have been saving her voice
for this tremendously difficult and trying
number. Her tone seemed to be lighter in
volume than usual, but it was excellent in
quality, never forced and always true to
pitch. However, on last nights performance
the part cannot be said to be one of her
best. 1t is an unusually trying character to
sing. and especially to act, as its simplicity
| in the first part of the opera is very diff
| fcult histrionically. without overriding, while
the later scenes call for emotional acting of
| the highest type. AS said before. Nine.
| Easton was at her best in the closing scenes
| which were beautifully sung and acted.
OF the smaller parts, Kathleen Howard
! was especially good as Marthe. She sang
| the part we'll and acted it with just the
| right amount of coquetry. her scene with
| Mephistopheies in the second act having the
necessary humor, without containing so
| much as to render incongruous the follow
ing love scene between Marguerite and
Faust. Mr.. Rothier's acting in this scene
also was of the best. Thomas Chalmers
| made an excellent Nalentin, and, in fact, it
was the best part he has taken here this
season. and Louis D'Angelo, who substi-
| tuted for l%olo Ananian at the last mo-
ment as Wagner. was equally good in the
| role. Mary Ellis took the part of Sicbe,
| for which Raymonde Delaunois was origi
nally scheduled, and sang and acted well, al
though perhaps n little more volume of tone,
| especially in the Flower Song" might
| have been acceptable.
The scenic effects of the opera were very
| beautiful. The ''Walpurgis Night" scene.
| which is rarely given, was presented with
| wealth of scenery and a grace and skill
| in dancing that has never been excclled in
| this city. Rosina CALI and Giuseppe Bon
| fglio at the head of the corps de ballet. pre-
sented the involved and difficult dances with
| a verve and grace of movement and posture
that won them as many recalls as any mem
ber of the cast.
The opera is so well known that it is not
necessary to speak of any Of the high points
of melody with which it abounds and all of
which were received with their usual suc.
cess. Pierre Monteux conducted with skill
and fine sense of the proportion of vocal
and orchestral effects.