The Washington times., 1919-11-18
FAUST SCORES HIT
|NPREM|EREHERE
Washington's Own Company
Gives Performance of
Real Worth.

OptEd Company a. lHt souubtA
rick TheateT, was n surprise, even
after the excellence of this organiza-
tion last season. IT was a success
musically and artistically, and pre-
sented a remarkably gifted cast, the
strongest assembly Of principals that
Director Edouard Albion has ever as
sembled. The genuine merit of the
orchestra and the crisp movement Of
the entire performance was due to
the forceful musical director, Arnold
Volpe.
The Washington Opera Company is
young" organization, with youth
and freshness in spirit and voice. And
the principals not only sang, but they
looked and acted the exacting drama
that was staged most artistically, the
garden scene being particularly note
worthy. Faust" as given last even
ing, could go on .tour and feel assured
OF a successful season. 1t bore no in
dication of a first performance.
That praise may not sound over
much, it is we'll to look squarely az
what has been accomplished. Taken
as a whole one would like II he may
be colloquial, to take off his hat" to
the entire force that has made this
performance possible-and it is to
be repeated every night this week.
Faust Is Holy Ground.
When one touches Faust" in mu-
sic, he touches holy ground. There
are fewer lovelier works in music,
nor works that demand more finish
of art, of the singers art, in solo,
duet, and larger ensembles, in which
the opera abounds.
The music of voice, the large chorus
of 1OO-and the orchestra was intI-
mately appreciative OF the melody
and breadth of the score. "Faust"was
presented truly and well-at times
most brilliantly. The one qualifica-
tion might be that by very virtue of
it's freshness, il was not the big
vocal Faust" of the great artists.
Its ideals were all there. 1t was sin
cere. meaningful and beautiful.
OF the cast, Hollis Edison Davenny,
as "Mephistopheles,r and Marguer-
ite Holt, as Marguerite" come first
in order for appreciation, although
each one. even to the minor parts
claim an individual merit that seldom
obtains in so large an ensemble. AS
striking Characterization that
stands out with excellence compar-
able TO many well-known artists, the
"Mephisto" of Lieutenant Davenny is
important for its dramatic and sinister
meaning. and for its vocal attain
ments. 1t was sung with such depth
and richness, such clear cut sardonic
humor that. whether full voiced or in
his haunting laugh, was a veritable
''Mephistopheles."
''Marguerite, Scores Triumph.
Marguerite Holt sang with a fresh
beauty of voice and a poise that made
her Marguerite" truly the singing
role Of Gounod's lovely melodies. and
her dramatic development Of the role
was faithfully psychological. So SUBJ
dued were her opening scenes, and so
girlish, that the Jewel Song" came
as a surprise, with its liquid beauty
and its free and exuberant expression.
Again she rose to new achievement
in the drama, and in the singing of
the prison scene, the final trio of
which was very we'll sustained.
The trio of Faust" 'Mephisto"
and valentine" before the duel, was
the pinacle of the concerted work, al
though the quartet or the garden
scene was also excellently balanced.
Leopold Glushak, as Faust" was
somewhat too love-lorn for the sob
der lover. He sang frequently with
lyric beauty, and his climaxes were
full voiced and always musical, but
his Faust" was less even in vocal
delivery.
Brings Role Out of Oblivion.
Oliver Mellum brought the usually
thankless role OF Valentine" out of
oblivion. His voice is ever lovely,
but he also has gained in dramatic
warmth, and holds rank with artists
who have already gained established
regulations on the opera stage. Beu-
lah Harper Dunwoody was a charm
ing "Siebel," both in appearance,
voice and acting. 1t was surprising
that this was her opera debut. She
gave the Flower Song" with musi-
cal value and real esprit. Her voice
is not n deep cOntraltO, but her un-
derstanding and singing were both
noteworthy. Lulu Root made of the
small role of Martha" a real part
and a singing part. Her voice was
effective always, and particularly in
the garden scene quartet, while Har-
Ian Randall as Wagner" the stu
dent, completed the roster Of a cast
to be proud of.
Chorus Letter Perfect.
The large chorus was letter per-
feet, and they sang with good tone
and good meaning, and were at all
times in the picture. The orchestra.
under Mr.. Volpe, and the fine spirit
Of the entire performance. showed
the master force of this leader that
has brought a community opera to a
point where it stands on a profess
siOnal basis. AS production, in
costume and scene, Faust" is ad-
mirabIe. 1t seemed an over-ambi-
tioUs undertaking. 1t has proved 4
realization that was not expected.
Neither the opera nor Gounod of i'm
mortal music has suffered at the
hands of Washington's opera con-
pany.
The writer remembers how, in
childhood, came the opera expert
ences that make music sink deep
into ones being. To so hear this
music, as given last night, brings
back those dear dreams of music, set
about with charm and beauty. the
heritage upon which love of music
ID buiIf WaShiO gtOD and Darticu-