New-York tribune., 1919-11-23
Great Tenor Raises Him
self Full Notch in Ar.
tistic Stature by His Por-
trayal of Aragic Eleazer
Debut of Orville Harold
Makes His First Appear.
ance at Metropolitan Op-
era House as Leopold

ia Juive," the first of Mr.. Gatti-
Casazza's novelties and rev;vals, was
given at the Metropolitan yesterday af-
ternoon. This old work of jacques
Halevy to the libretto of Eugene Scribe
WAS produced in Paris in 1885. and
since that time it has held a more or
less prominent place in. the opera
houses of the world 1t had not been
given at the Metropolitan for many
year@not since the days of Kalisch
ard Lilli Lehman, when it was sung in
German. Oscar Harmerstein revived
It during his Educational season" at
the Manhattan Opera House during the
autumn Of 1909. and since then it was
given few performances by the EURO
Opera Company at the Thalia Theater,
in the Bowery.
The reasons for the Metropolitan's
revival OF LA Juive' are obvious
First there is Mr. Caruso, and he is
host Of reasons in himself. new part
must be found for him each year, and
Elaazo- is character which gives an
opportunity for the full display Of his
voce and vocal resources. Moreover,
dramatically it suits the maturity of
the great tenor, who at forty-six no
doubt grows little weary o. interpret-
m passionate and youthful lovers.
?aternal affection. religious ecstasy
ard overpowering enge-these are
epc passions unfelt by callow youth.
Then there was the necessity Of
adding to the French repertory, the
rlblic's universal liking for a spec
taole. and tire presence of Josef
Urban, whose scenic art requires a
Gargantuan field for its perfect expo
sition.
Not a Pleasant Story
Scribe's kbretto is not exactly
pleasant one, but the old playsmith
lr the crowds delight in operate
hc~rors Death by Illuminating lubri-
cation was the particular emotional
tic4.e with which he chose 70 close his
s.ory. Mr. Scribe but anticipated the
Graude Guigaol. We only wish he
could have been present yesterday and
with the hooded executioner stirring
gAoalishly tie flowing contents. But
the fuel controller m~st have thought
II a criminal waste Of good petroleum.
He undoubtedly would have considered
strangulation or beheading a less
vasteful mode of death
The libretto, however, contains other
things, among them several gorgeous
pareants. one Of which includes an
emperor on horseback q Jewish
4aM = celebrating the Passover. and
,N3 elaborate ba.icts. In all OF them
! NJ. Ordynaki, the stage director,
ana Mr. Urban, the scenic painter,
had their opportunities and their
,triumpns. while in the ballets Miss
Nosiaa Cali figured both as dancer,
who since the departure Of Anna
Paylova, knows no equal, and as q
choreoDraphic director Of unusual
Gali-Casazza has placed his LA
Ju.ve" on plane with his lie
Prophetic" and his "Oberon.'
Music of Less Importance
The music itself probably was of
less importance; although Halevy has
written many pages OF high melodlc
beauty ana superb dramatic power.
An oneya does not live merely because
Of it's l.bretto, and La Juive" mas
lived Tac scene Of the Passover Is
one in which The music a-tains q strlk-
ing nobility of utteraace, the spec
tacles are full OF stately pomp
and circumstances and the palleIs
fascinating in their rhythms and shot
through with coruscating color. More
over, the composer has written for
the singers. Aleazur, Leopold, Rachel,
the Card nal, are parts which must
be sung by singers trained In the great
traditions, and when sung by such
singers they take on a new significance
and beauty.
Halevy IS Of course, of the school OF
Meyerbeer. and he is always cogni-