The New York herald., 1920-01-11
"Zaza," Leoncavallo's Pet of His Operas,
Refused in His Life, To Be Heard Now
Composer Six Years Ago Sought Pro
duction Here for Work Which
VIII BE Sung This Week.
By PAUL NORRIS.

1ovlal Italian. only Few persons called
TO see him. There was no fuss or disturb
ance about his apartment. In Two or three
days he went away as quietly as he had
come.
So far as any casual observer could have
told, he was man OF no particular i'm
portance. But actually ne was the com
poser of the most popular grand opera in
The world. Ruggiero Leoncavallo, who
was responsible for both the words and
music of 'T Pagliacci."
The writer saw him and talked with him
in the course of his brief stay. There was
q touch Of wounded pride because one
Z seemed 20 pay any attention to him in
america. \ few days BEFORE his arrival
thousands OF opera goers had shouted
their approval of ''Pagliacci in the Met
ropoiitan Opera House, with Enrico Ca
ruso and Miss -Lucrezia Bori in the lead
ing parts. But during his stay there was
no gala performance. Not even one pres
entation of his opera took place while he
was in New York. Yet il was not that
which troubled him most. II was because
no one in America was willing to produce
his later opera, "Zaza.' that he was most
heartbroken.
Made Plea for His "Zaza."
II am duly grateful" he told me, that
( Americans like my Pagliacci,' but why
had written only one opera. have done
several, and for me Zaza' is not inferior
10 'Pagiiacci' Must l go all through life
dubbed one opera composer when I
myself prefer another work?
! Doesn't my reputation as the composer
Of famous Caruso opera entitle me to
hearing here for my other works? Won't
some one take my Zaza'?"
" is impossible TO describe the feelings
OF neglected composer of the worlds
most frequently sung opera He was very
enthusiastic and trifle pompous in his
! manner. He talked music as if il was
the only thing in his life that rnattered.
. He talked passionately, as the composer
OF an opera OF passion Hike "Pagliacci'
would be expected to talk But there was
tragedy in his voice. His 'Zaza" was
. being neglected.
Now Leoncavailo is dead, but his "Zaza"
: lives In the Metropolitan Opera House
: it will have its first hearing in this city
on next Friday night. H. is generally a
risky thing TO predict popularity for an
opera or play in advance of its pre-
/, miere. A dress rehearsal may be as dead
as frozen turnip and the premiere as
lively as a strike breakers riot. Or the
dress rehearsal may have a trunkful OF
thrills, while the first public performance
drags like the feet OF a tipsy Saturday
night reveller trying to walk home in the
dark. But this Is certain-Miss Geraldine
Farrar, at the first piano rehearsal for
principals on the bare stage of the Metro
{ tunes or chorus, singing the title role,
had everybody in sight crying.
Mr.. Belasco's Work.
II will be remembered that Mrs. Leslie
, Carter was heard many times in this
country in the play, "Zaza,- by Pierre
Berton and Charles Simon, from which
Leoncavallo took his libretto. The play
had been failure in Paris in spite OF the
fact that Nine. Rejane was in the title
role. David Belasco saw IL in Paris. how
ever. before its short run was ended and
decided to adapt it for the English speak
ing stage. Had it not been for this fact,
''Zaza" would probably have died an early
death. II was not until after the success
Of Mrs. Carter in Mr.. Belasco's adapta-
tion that France again took up 'Zaza."
Then IL became popular with almost every
emotional actress in Europe It has been
translated into almost every language of
Inc civilized world and Mr.. Belasco's
version has generally been followed.
While Leoncavallo wrote his own Ii
bre.to. az he had done for his other op-
cras no followed the English adaptation
down 10 the last act This he omitted, so
tlat tho play cads little differently from
no opera.
Zaza is q gay, reckless favorite in a
French provincial cafe chantant She is
seen first behind the scenes In the smoky
atmosphere OF her music hail. She has
lived the life of others in the provincial
amusement world. She has loved often
and not always too wisely. But there is
new sweetheart. Dufresne, whom she
owes more passionately than the others
Even a frivolous entertainer has al
heart In her home, cheap and unattrac-
tive. she sees him Then there are stories
abont a rival. She is not cold and cal
culatinG She goes wherever her emotions
carry her. To Dufresne's apartment she
is carried by her temperamental, Jealous
nature. Here she learns that he is legally
bound 70 another that she is not his only
love, thai ho is not all that her mad love
bad pict<red him.
Unlike the drama, the opera does not
carry Zaza back to her earlier mode OF
Irving. She breaks with Dufrssnc. That
RS all. The audience is left in doubt as
- har future
Miss Fsrrar's Associates.
In the cast with Miss Farrar will be
Giulio Crimi as Dufresne. Pasquale
Amato will be heard as Cascart, cast off
lover. n professional thespian who has
taught her what little art she knows. but
whose purpose has been served before the
now sweetheart appears. Zaza's weeping.
tipping mother will be impersonated by
Miss Kathleen Howard; Miss Ada Qun-
tina will play the child, Toto; Miss Cecil
Arden will be Nine. Dufresne; Miss
Frances Ingraham, a concert hall rival of
Zaza: Miss Minnie Egener Zaza's maid;
Angelo Bada, the proprietor OF the cafe
chantant: Paolo Ananian, n monologist;
Milo Picco and Mario Laurienti news
napermen: Pompilio Malatesta, n state
stage director In other roles will appear
Giordano Paltrinieri, Pictro Autlisio and
Viucenzo Reschglian. The opera will be
directed by Roberto Moranzoni, under
whose direction the rehearsals have been
held.
"'Zaza' was Leoncavallo's pet opera,
Mr.. Moranzoni said after one of the re-
hearsas last week in the Opera House.
'sBut 1t is difficult to find prina donna
equal to the title role. That Is one reason
why Il has not been done oftcner. IL has
been sung in italy. in Paris and in Mon
treal But in most cases the role OF Zaza
was too much for the prima donna. Miss
Farrnr, however, Is exactly suited TO IT,.
''Zaza' was first sung in Milan where
fts premiere was directed by Arturo
Toscanini in 1900. Later IL was sung in
other Italian cities, but lack of great
emotional singing actress made its pro-
duction impossible in most theatres Cleo
fonte Campanini conducted its presenta-
tions In the Sarah Bernhardt Theatre in
Paris.