Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-03-04
Mary Garden Stars in Massenet's
Cleopatra" in an Excel.
lent Performance

The Chicago Opera Association opened it's
Philadelphia season of one week at the Aca-
deny of Music last evening before an audi
ence astonishngly small. when it is consid
cred that II was the opening night that an
operatic novelty was offered and that Mary
Garden appeared in the leading role. The
opera presented was Massenet's Cleopatra"
his last operatic work, and one which was
not presented until after his death.
Many liberties have been taken by the
librettist. with the real facts of the Antony
Cleopatra affair, as narrated by our best
historians. the ultimate result being that in
the last act everybody of any importance in
the cast has either killed himself or had IT
done for him, and at the final curtain the
corpSs of Cleopatra and Antony are alone
on the stage.
Muscally, Cleopatra is only mediocre.
II may not be Massenet's worst, but II is
by no means OF his best. The flow OF melody
is not 80 sustained as in his finest works,
the orchestration is not altogether consistent,
even for one who was by no means master
of orchestration, nor does it seem to be
entirely fitting at times. The big features or
the work, as judged from last evenings per-
formance were that it offers an unusually
fine medium for Miss Gardens very excep-
tonal talents an actress and that 1t
admits of the exquisite stage settings upon
which Mr. Campanini insists now. as he
always has. Massenet has the ability TO
choose operate plots OF the rarest merit
ability to write the really poignant music
which those plots demand and this fact was
brought home more strongly than ever in
last evenings performance.
The foregoing relates entirely 10 the opera
as a composition. Nothing can be said except
in praise as TO the manner in which IL was
staged and performed. II is opera Of few
real parts, although the cast was large
numerically.
Mary Garden, OF course was the star. She
- aht otr
indeed. rather, she has gained, and the part
yocally and dramatically suits her admirably.
In all the Kaleidoscope changes of character
which the title role demands she was equally
proficient, and acted with equal fidelity the
coquette, theNruthless Queen and at the end.
the faithful lover. Nocally her part was
dramatic rather than lyric, ara gave little
TO do In the range OF pure song, but all
was accomplished with excellent voice and
always with intense dramatic power. Ono
can scarcely imagine the part better done as
n whole than Miss Garden performed It.
using always the most subtle artistry to de-
lineate the character.
Next in Importance were the roles of An
tony, taken by Alfred Maguenat, and Spakos
Ia character evidently interpolated by the
librettisD, taken by Charles Fontaine. Mr..
Maguenat showed voice of much warmth
and color and made an excellent impression
both as a singer and actor. Mr.. Fon-
taine made the most of an ungrateful part.
although his work vocaly was somewhat {
uneven. He was not always strictly in
tune. but at times. especially at the close
of the exultant area, "Tu veuX le voir, -
in the first act, as Cleopatra makes
her entrance, his singing was not exceIled by
any of the entire opera. His acting of the
part was fine throughout and thoroughly
consistent with the part.
In the female characters Francesca
Peralta as Octavia was able second to
Miss Garden OF charming stage presence,
regal as beftted the sister Of a Roman
emperor. Miss Peralta showed a fine
soprano voice of great range and fine quality,
especially in the higher register Her work
In the trio with Cleopatra and Antony showed
her at her best although she had much
recitative and aria work which was ad-
mirably done The minor parts of Ennius
Amnhes and Charmon were adequately sung
and acted by Messrs Huberdeau, Nicolay
and Miss Noe, respectively.
The stage settings throughout were very
beautiful and apparently correct historically
although manifestly intended for a stage
larger than that of the Academy Mention
must also be made OF the wonderfully beauti-
full dances of Andreas Pavley and Serge
Oukrainsky, assisted by Mile. Karalli and
the ballet.