New-York tribune., 1920-12-24
Don Carlos OF
Verdi Clyelrat
Metropolitan
Spectacular Settings and
Elaborate Ballet Among
Distinguishing Features
in Production of Novelty
De Luca Wins Iionors
Work First Produced i'm 'Oz
Built on French Model:
Has Some Real Me, ody


Verdi's Don Carlos" was given for
the first time at the Metropoli an Opera
House last evening. 1t is a vast CON
glomcraton of musical styles, for
Verdi, when he wrote i, was struggling
to adapt himself to the French idea o.
grand opera. In its four acts and nine
scenes there IS enough music to make
three operas There is also drama t.
suit every taste, including the p9mp
and pageantry of the Spanish court
during the lnquisition, an illicit love
affair, a brutal murder, a ballet and
the appearance Of benevolent and
royal ghost. who. in the lingo Of the
spiritualists, gets through" from "the
other side in the nick OF time to save
the hero from disastrous quarter Of
an hour with the Grand Inquisitor.
l he story comes viii in an ace Of
incest, but this Phedre like touch is
dispelled, for Elizabeth is only a step
mother.
Verdi was not the first to set to
music the adventures of the morbid
heir to the Spanish throne. The sam
subject was previously treated IN "Don
Carlo" text by Giacchetti, music by
Pietro Bona, Milan, 1S47; in Don
Carlo text by Beninzone, d ser
Alheri's "Filippo," music by Fesrari;
acts. text by Tarantini, music by Costa.
Her Majesty's Theater, London, June
20, 1914; in Don Carlos" m4sic hy
Vincenzo Moscuzza, Teatro san Carlo,
Naples. May 25. 1862.
Ferdi's Don Carlos was written for
the Paris Opera, where it was first
given. March II, 1867, during the Uni
versal Exposition, with NJ. Morere as
Don Carlos, NJ. Obin as Philip, NJ.
Faure as Posa, Nine. Sass as Eliza
beth, Nine. Guymard as Eboli, Mile.
Levieille as Teobaldo, NJ. Belval as
the Grand Inquisitor and NJ David as
the Monk. 1t was given for the first
time in London at Her Majesty 5
Theater, June 4, of the same year.
The first performance in the United
States was at the Academy of Music in
this city on April IL, 1877. Max Msret-
EEK was manager and CONDUCTOR The
cast was as follows: Philip II. Dal
Negro; Don Carlos, Celada MARQUIS
de Posa, Bertolasi; The Grand Inruisi-
tor, Garini; A Friar, Baceli; Eliza
beth, Nine. Palmiere; Princess Eboli,
Miss Rastelli Cher first performance :
Teobaldo, Miss Persiani; Herald, Bar
beris.
Opera Popular Only in Italy
The opera was never a success either
IN Paris or London. Only in Italy die,
it achieve some little measure Of fame,
and this was partly due, no doubt, to
the fact that Tamagno appeared in the
title role. Here, with the exception
Of the aria 40 Don Fatale," which has
now and then appeared on 8 concert
program, the work is practically &
novelty. Few remember the earlier per
formances at the Academy of Music.
Two reasons other than the works
novelty may have induced Mr.. Gatti tc
introduce the opera at the Metropolis
tan. There is the opportunity for 6
huge spectacular display; there is also
the fact that amid the musical clutter
Of the score Verdi the melodist peeps
out from time to time in undimmeS
splendo-.
There are three editions of the opera
That used at tne Metropolitan is
co0'n site # the three. Some cut.
have beer mercifully made. Otherws
tAe 0p-Ia might have gone on fo
twenty-four hours. Since the dres
rehearsal twenty minutes have bee.
saved Based on Schiller's tragedy
many scenes of the plav have beer
retained, although the locality ha
been changed. Posa meets his dealt
as in the play But Carlos is swep
into the tomb by his ancestor Charlie
V instead of being turned over to tn
Inquisition.
The strongest note in the dramati
version is the friendship between Can
los and Posa. In the opera the Infan
te's love for Elizabeth is emphasized
Politics is somewhat in the back
ground and there Is less shouting 20
freedom for the oppressed F!emings
But the operate libre1to is insutferabl
dull. The characters are no longer tn
grand figures of Schiller's tragedy, bt
the pompous puppets of opera, with
least one aria apiece.
Work Is on French Model
The opera was not only written to
French libretto by Merry and Du Loci
although the Italian version is used
the Metropolitan, but according TO tt
model which, during quarters
the nineteenth century, had been know
distinctively as French grand opera.
which LA Juive" and Meyerbeel
operas are familiar examples. In tn
school, length was considered an el
ment OF greatness Verdi also includ
the other essential demand for t
spectacular, which he had hither
neglected. Because Of his concessio
70 French art and the homage paid
tie traditions and conventions
French opera, France is fond Of clair
ing Don Carlos" as the turning poi
Of his career. But it was not his fir
French opera. Les Vepres Sicilienne
had appeared twelve years earlier.
reality "Don Carlos" belongs to Verdi
middle period, ranging from I.ui.
Miller" TO "Un Pa.lo in Maschera" an
including "Rigoletto"
The increased richness in orchestr
ton which was TO come to its fu
glory in Aida" composed immedate
afterward is already apparent; al.
the influence Of Gounod and Nieve
beer. The first act is commonplac
but Che second rich in melody. Pro-