The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1920-12-14

OF Nerul pageant opera, "A
liant and notable audience t
made the event typically sop
shoe of improvised boxes wa
socially, in a bright glow of {
The applause of this big audience
rang vigorous and sincere, increas-
ing with the successive scenes until
as the various soloists were brought
before the curtain after the tri-
umphal second act, the return of
Nine. Mary Cavan, as Aida" re-
ceived that unmistalkable storm OF
plaudits with shouts OF "brava." that
Is seldom won in Washington. while
Otakar Marak, as a notable Rhadames,
also was greeted yociferously and our
own artists, Charles Trowbridgs Tit
mann and Ruth Townsend. held stel-
lar place with these experienced
artists OF the opera
IL was not until later that Marcus
Kellerman, as "Amonasro," was heard.
making the third opera star in this
group OF over a hundred people who
gave Aida" as civic opera in Wash
ington. a really professional rendi-
ton.
Such a first night by any organiza-
ton would be noteworthy. There was
not a hitch. The action went smooth
~ with dignity. and with the drama
tic fervor with which this opera
abounds. The groupings were rich,
The chorus a vital factor, and this
idyl of ancient Egypt was set forth in
stage pictures of scenic and tab
An
Is to know Verdi's Aida" for what it
truly is. in its splendid music. it's
spectacle and it's atmosphere. with
the exception of the ballet, which was
amateurish with some grotesquc solo
work that should be eliminated.
THE PRINCIPALS.
Mary Cavan, Otakar Marak, Marcus
Kellerman and Charles Trowbridge
Tittmann gave opera such as we are
accust toned to pay Ave or six dollars
for. Nine. Cavan, dramatic
picture and action, and in the many
hued vocal expression of this great
music. with Marall. these two art
lists rose to superb heights. Their
voices held the Elusive drama of the
y,
that mean to the opera world what
we can but call Interpretation"
Cavan's scene with her father.
'Amonasro." was gripping. Her
voice held a luminous warmth and
depth that tilted into the role OF this
siave-princess, while the final duet In
the tomb was a climax.
Marak was in splendid voice. Civ
ing the Celeste Aida" with reso-
nant dramatic value. And through
sut the opera one felt the artist who
knew each shade OF vocal meaning
and delivered it with consummate
artistry, while Marcus Kellerman was
the captive king whose voice. form
and drama made a dominant note in
the tragedy.
Ruth Townsend meZZo contralto,
made a significant debut as the prin-
cess Amneris. She held the dramatic
action with real force. and her voice,
which is rich and vibrant, gave poised
and colorful tone to the role. The
value of opportunity was demonstra-
ted in her steady growth in the prog
ress of the opera Except that her
voice is muffled somewhat in its de-
livery, it holds splendid material for
the dramatic in opera, and the music
ianship Of the artist was most graft
Tying.
Charles Tittmann, dominant figure
of the High Priest. was truly great
in the yibrancy and defamation OF
his role, in his beauty of tone and
the dignity of his every phrase. No
trace Of first operate appearance
was there, and in ensemble as well
as solo this Washington basso would
find first place in any opera cast.
Herbert Aldridge made much OF the
small role of the messenger. ana
George Harold Miller's bass, win
Ruby Potter as a priestess, com
pleted a cast that rose to the occa-
sion remarkably.
The chorus OF men and the chorus
of women, held in many separate
parts, were each excellently sustained.
That they left no feeling Of debut
was evidenced in their surety, their
clean-cut phrases and their volume
Of tone. The many pictures, the par
ticularly rich moonlit scene on the
desert were products Of real crafts
manship from Enrica Clay Dillon,
stage director and coach.
The conductor, Arnold Volpc, gave
a vital rendition of the score with an
orchestra that was extremely good.
while he commanded the artists with
absolute mastery, holding the opera
splendidly together
WHAT IT MEANS.
To Edouard Albion, director, and
to his wife (people behind the scenes
know) is due this realization Of art
born and developed at home They
have held fast to their faith in the
civic opera ideal and brought It to
this amazing fulfllment. Each per
All washington should see this
aida"
And John c. Freund, editor Of
Musical America and pioneer cham
pion of recognition for American
artists. came down from New York
for this occasion and spoke between
the acts of his fifty years. knowledge
OF America and music. In introduce
ing Mr.. Freund, Mr.. Albion said:
"This is the beginning of the civic
opera, What civic opera means, not
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