New-York tribune., 1920-09-30
Offenbach's $
Opera Sung g by
San Carlo Co.
s'Tales of Hoffmann.'' Given
Without Dramatic Effect,
Serves to Recall Success
of Thirteen Years Ago
Music Dull and Flaccid
Krehbiel Says Performance
Is Unworthy of Being
Dignified by Discussion
By II. r. Krebbiel

1t was not wise in those who remem-
bered the performances of LES Contes
d'Hoffmann" at the Manhattan Opera
House thirteen years ago next month
to recall them to memory yesterday af-
ternoon, when within the same walls
the San Carlo Opera Company attempt
cd c revival of Offenbach's opera.
The work, which lends nearly all the
dignity to the name Of it's composer
which It possesses, will not sta.ld
mediocrity of performance; and the
best of that which Fortune Gallo Of
fered was only mediocre, while the
worst ought not to be dignified by dis
cussion.
Though Ofenbach chose to devote his
talents to opera bouffe, he was an ex
eellent musician, and into Lies Contes
d'Hoffmann" he poured his warmest
hearts blood.
Characters Sharply Drawn
The book is not a dramatic unity,
but for that it's authors were RESPONSE
BILE; and those authors were none else
than Barber and Carre, who made the
Faust" libretto for Gounod and other
serious works, as we'll as transient and
trenchant farces with which the frivol
ties of the empire of Napoleon the Lit
tie were scourged.
The disconnected episodes drawn
from the stories of E. 7. A. Hoffman,,
who was the German Edgar Allan Poe.
and much else besides, have one thing
in common. Their characters are
sharply and clearly drawn in a dra-
matte sense and excellently adapted for
musical delineation.
The libretto, therefore. gave the COM
poser opportunities for the most varied
types of music. Otfenbuch seized upon
and did credit to them all.
1t is not alone the bacarollc, gavotte
and waltz which everybody hears with
pleasure; the best of musicians can
listen with delight to the refined bur
lesque of the ballad. "KlenZach' (wc
could scarcely recognize it in the sing
ing of Signor Agostini yesterday; the
romance of the mirror, the ingenious
imitation of mechanical music in tho
automaton's song and especially the
trio for mems voices in the third act
Counting the first and fifth as pro-
logue and epilogue, as We ought), which
we venture to say is as good and virlle
a piece of dramatic ensemble of its
kind as could have been written by any
Of Offenbach's contemporaries.
Needs Actors and Singers
and singers of different order than
those who are so generally tolerated
in the list of hurdy gurdy operas.
The operate conventions which serve
for mediocre "Traviatas." "Carmens,"
"Rigolettos" and "Fausts" cannot vital
ize LES Contes Hoffman," in which
yesterday even the mingling of French
and Italian had disturbing effect upon
experienced listeners.
Not in the action, for there was no.
body in the performance who seemed
to have an mixing of the dramatic
story-not even the stage manager;
but nthe music the dull ard faccid
performance received a modicum of
vitality in the mems trio which made
veteran hearers at least think with a
modicum of contentment of Renaud,
Gilbert and Dalmores.
There never was a completely salts
factory cast of women singers in the
old performances. but gepilli, Jomelli
and Di Cisneros were much superior to
Josephine Lucchese, Elise Medina and
Eleanor Mario. who essaycd the roles
respectively Of Olympia, Giulitta and
Nickolaus yesterday.
Miss Lucchesi was said to be max
ing her first essay on the stage, and
this may have been true in the strict
sense Of the phrase, but she was GER
tainly was heard in a song recital in
Aeolian Hall in November. 1919, and
received praise from The Tribune for
a smooth and flexible soprano voice, as
we'll as sympathetic and emotional ex-
preston.
She had no opportunity to display
the last quality yesterday. though she
displayed rather engaging volublity
in the automaton's song.
There we're evidences of experience
and training in Regina Vicarino's sing
ing as Antonia. The work which
sounded most mature was that OF
Arnold Becker, who doubled" the
C-oppelius, and Dr. Miracle. Guetanc
Merola conducted, but there was nc
distinction in the playing Of the or
chestra.
Gounod's "Faust" was poorly sung
and badly acted at the evening per
formance. AS a matter of record il
may be stated that'the roles Of Faust
Marguerite and ephistopheacs were
taken by Pellada Senagra, Marguerite
Namara and Pietro de Biasi.