Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-03-06
MARY GARDEN STARS
IN FEVRER'S NEW OPERA
''Cismonda" Well Sung and Acted
by Chicago Opera Star and
an Able Cast

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"Gismonda.' the new opera OF Henri
Fevrier, based on the play Of the same name
by Victorlen Sardou. was presented for the
first time in Philadelphia by the Chicago
Opera Company at tho Academy OF Music
last evening with Mary Garden in tho title
role a strong cast and Maestro Campanini
himself conducting.
As composition "Gismonda" cannot be
wholly praised and by no means condemned
There are many very beautiful places in the
opera, or rather lyric drama, and 1t is full
Of melody. but this melody lies far more in
the orchestra than in the vocal parts
Fevrer was not afraid to write free
melody, and one of the finest Of the many
he has introduced Is for the orchestra alone
at the beginning OF the third act This
charming little tune for strings alone and
harp had to be repeated. II afterward ap-
pears in slightly modified form at the
close Of the ballet. ..
The opera as a whole does not give the
impression of modern French work. 1t is
use OF the leit-motif, which. however, is not
carried out in the strict wagnerian man
ner in its orchestration, and, above all, in
its general atmosphere He has not drawn
on Wagner any one else for that matter,
for thematic material, as this all seems to
be highly original. but nevertheless, the gen.
eral impression is that the composer has
been strongly influenced by the immortal
Richard.
Harmonically, Fevrer has not been
greatly affected by modern French tenden-
cies. and there is little OF Cesar Franck's
| influence shown and none at all of Debussy.
| The orchestration which is one OF the
strongest points of the work, being exceed
| ingly rich and beautiful not only in massed
| effects, but also in the use of the solo in
| struments is also Wagnerian rather than
French in style. 1t is an opera OF musical
| assertion and not of atmosphere, the
modern French music drama is apt to be.
especially since "Pelleas."
On the other hand many of the scenes
are far longer than the musical and dra-
matte content will sustain. This is especially
| the case at the beginning or rather in the
whole first half Of the second act The last
| half is very lovely muscally, but it cannot
| be denied that the first half dragged pain
| fully and would be improved by judicious
Cutung IL can scarcely De Calleu an opera
| OF action, and this has, not been taken into
account by the composer in the length Of
| some Of the situations, especially those which
| are sheer dialogue. Orchestral color, how
| ever rich. will not, unaided, sustain the at
| tention of an audience through fifteen or
twenty minutes of semrectative, and there
| is n great amount OF this in the almost four
hours that it takes to produce tho work
The opera was we'll sung, well acted and
staged to perfection. Miss Garden was the
| star, but she was ably assisted by Mr.. Fon-
| taine as Almerio, Mr.. Maguenat as Fac
| caria, Mr.. Huberdeau as Gregoras, Mr..
Nicolay as the Bishop and, in fact, every
| member of the large cast. Miss Garden was
not in especially good voice at the beginning
| of the opera, but her voice cleared up at the
| opening of the second act and remained
clear and resonant to the end. Mr.. Fontaine
| and the othtr male members OF the cast
| were in fine voice throughout the work.
| "Gismonda" is essentially an opera, of
| ensemble in the sense that the melodies lie
| in the orchestra rather than in the voice
| parts, and therefore purely melodic epi-
| sodes are rare. The most beautiful parts
| were the close of the second act, the great
scene between Gismonda and Amerio, a
| really exquisite bit Of composition well
as OF orchestration. and the unaccompanied
| chorus in the church scene in the last scene
of the last act which forms the background
for an effective solo for the prima donna.
| Miss Gardens part dramatically was strong
| and gave her ample opportunity for the
exercise Of her very remarkable and artistic
| acting
Mr.. Campaninis conducting was a master
| piece. At all times he kept the huge orches-
ira in just the proper relation to the voices
| and IL was never allowed to intrude unduly,
although the tremendous part which the or
chestra plays in the melodic scheme of the
work as we'll as in the color and descriptive
treatment was brought out to the utmost.
| The classic dances at the beginning of the
third act were delightful both in conception
| and in execution. o.. -.