The New York herald. [volume] (New York, N.Y.) 1920-1924, 1920-11-16

ne exercised the functions OF his voice
they surely cared nothing. But Ca
russo was working" as some of
them have expressed it, and for them
that Is the beginning and the end Of
all opera
There was much excitement In the
air. The first night Of opera is an
event In the experience of each year.
Men pay fabulous prices for seats.
They might hear the same opera with
the same singers u week later for one
quarter OF what 1t costs the opening
night; but all the thrills would be
wanting. Every one on that night
feels like Anchises. the spectator Of
historical actions of which he himself
was great part quorum pars magma
fui," Virgin reports him.
HaIevy's "La Julvc' Sung.
Perhaps the knowledge that any
opera would pack the theatre on the
opening night, so long as Caruso sang.
vas the secret of the impresario's
choice Of Halevys ia Juive." 1t is
a dull and pompous work, and its story
is one of suffering, misery, and final
agony. 1t reminds one Of the punish
ment for comprising the death of the
son of the Mikado as described by
something lingering with
boiling oil in &C." If there is more
lingering opera than LA Juive" 1t
~. 20
But no professional observer after
passing. half a lifetime in the world of
music can be induced to believe that any
one takes this type OF opera seriously
In the public mind it is not classed with
music dramas. but with singers operas,
works designed and carefully executed
for the purpose of affording vocal celeb
titles a field for the display OF their
lyric aviation. Therefore the local opera
eoeT considers ia Juive' solely with
regard to its relation TO the art OF Mr..
Caruso.
In the golden years OF his young man.
hood when his voice, too. was golden
and smooth lyric song his ideal. the ia
NOUS tenor would not have approached
this musty score. But the attack is not
what it was; the sustained legato be-
comes more and more difficult; and
hence the pompous defamation and
plangent cantilena of Halevy present an
slluring refuge.
Caruso as EIeazar.
The earnestness with which Mr.
Caruso enters into the representation of
Eicdsur is already well known TO this
public. His forceful defamation COM
rnands admiration and his liquid chant
ing in the supper scene awakens memo
ries OF the youth OF the voice. Probably
the original Elcdsur, Adolphe Nourrit,
was not his superior i'm the part, al
though The poignant note Of real trag-
edy Is wanting.
II was said in this place Lass season
that survival of the opera in the reper-
toire would depend on the public ac-
reptance OF Mr.. Cargso in this new role.
There seems to be little doubt that opera
eoers will enjoy the impersonation for
another season. The vociferous demon
strations meant nothing. They would
have been heard II Mr.. Caruso had sung
any other part In his list.
The other principal members or the
east were those concerned in the per-
formances of Ia JJuive" last season.
Miss Rosa Ponse'le "a Rachel and Miss
Evelyn Scotney as the Princess walked
out OF one scene into another, rolled up
their eyes, knit their brows wiring their
hands and emitted high and far reaching
zones which stirred the populaca to ex-
plosive gratitude, but of the two agonized