New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-01-26

the scene painter, Mr. Boris Anisfeld;
the costumer, also Mr.. Anisfeld; the
staging Of Mr.. Ordynski, the chorus Of
Mr.. setti, the orchestra of Mr.. Mon
teux, the singers, especially Nine.
Geraldine Farrar, and the libretto Of
Catulle Mendes.
NJ. Mendes has furnished libretto
in thousand, libretto full Of color,
poetry, romance; it is also full of
emotion, and the Church has declared
its opinion Of its morality by placing
it on the Index. The story has been
told in The Tribune and needs no
further telling here. 1t suffices to say
that Orlando, Queen of Bologna is a
very Fascinating, perverse little queen
who can't say no to any attractive man
and teaching the novices from her
own book Of experience, which, if
short in the years it covers, has many
pages and is profusely illustrated in
all the colors, primary, secondary ana
tertiary! a gay little queen is Or
landa, who also sympathizes with
Luther, though we are inclined to
believe rather with, the old rhyme
attributed to him which begins "Who
loves not wine, women and song" than
with any of his eccesias ticul doctrines.
a most immortal little queen, and, we
are frank to say, most immoral
story, which none the less lends Itself
supcrbly to operate treatment for the
story is simple, the emotions strong
and the colors vivid. A great com
poser could have done wonders with
1t, though perhaps a great composer
would not have chosen a subject so
lnnately lacking in any moral stand
ard. But the great composer would
have made the opera q serious matter.
M. LerouX has made it only a bonnie
bouche for faded palates.
The production furnished by SignoI
painted by Boris Anisfeld, a distin-
ings, who for the occasion has turned
to the pre- Raphaelites for his inspira-
ton. AS the pref aphaelites were not
of the time of Luther, there is at
once an anachronism, because Of which,
of course, no one worries.
There never was Queen of Be-
logna, and if there had been she would
not have sung neo- Massenet. So,
beginning with an anachronism, there
is no reason why we should not con,
tinue, and pile up colors, reds and
blues, and greens, to our hearts con
tent. Mr. Anisfeld has done TINS, and
effective, characteristic and beautiful.
We can afford to let history slumber
while we enjoy the setting. Mr.. Ordyn-
ski has produced picturesque postum
ings, Mr.. Setti has trained the chorus
effectively and Mr.. Monteux conducts
the music as if he believed in it, And
then there is Nine. Farrar.
Nine. Farrar was altogether in the
picture. She was lovely to look at,
lovely to watch in movement; graceful,
pathetic, outrageously audacious. Or
roles, a Manon Of the Renaissance.
She was just recovering from a cold
and SO it would be unfair to speak of
her voice. Those who love Nine.
Farrar, if they be not too Puritan or
too Catholic, will love her. Orlando.
But we don't wonder that such goings
on put ola Refine Fiammette" upon
the Papal Index.
Hipolito Lazaro was the Danielo, and
when his voice escaped freely from his
throat he was effective, despite his Door
dction and his rudimentary ideas of
character. Mr.. Rothier gave dignity
and style to Cesar Sforza, and Adamo
Didur was an exquisite portrait from
the renaissance. Indeed, those two
artists were never seen to better ad-
vantage, even though the music given
to them was unworthy of their artistic
stature.
OF the minor characters, mention
ought to be made Of Miss Mary Ellis,
who in the two roles of the little novice
and the little fool displayed a rare
combination of youth, beauty, grace
and unconscious poise. If this young
singers voice increases in power-slc
is yet only nineteen-she ought to go
far. At present the voice Is pure and
sweet, little fral. but finely con
trolled and used with exquisite taste.
Miss Ellis may we'll be a Manon or a
Butterfly in potentia.
The other small parts were we'll
taken, especially by Mines. Perrin,
Sparkes, Beale and Howard. The audi
ence showed no great manifestation Ct
enthusiasm, but applauded politely at
each curtain.