Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1920-03-24

Rossinis most popular work and
what Is probably the funniest comic OPP
era in existence in any language what
ever. "The Barber Of Seville" was
given spirited and overwhelmingly
funny rendition last evening by the Met
ropolitan Opera Co. Mr.. TIackctt was
fkc Count Almaviva. the character in
which he made his Philadelphia debut,
and the extent to which his art has
hroadened and ripened in season was
shown clearly to those who saw the
performance last evening and compared
u with the same role of a year ago.
In an opera 80 familiar as The Bar
ber' it is useless to go into the details
of how the most famous arias we're
snng. The opera is full of fine melo-
dies and many of them were beautifully
rendered. but it was not this that made
the opera tho success which il achieved.
Rather it was the comedy dramatic
work, sometimes approaching tn" dan
ger mark Of overacting. it is true, but
funny withal TO Z last degree.
In this phase Of the opera Messrs.
Malatesta and Mardones were the stars.
both are comedians of the highest rank
and not only is Doctor Bartolo Mr. Nal
stesta's best part. but he is also quite
the best actor in this role that has yet
equal to the vocal demands. which for
buffo part are unusually severe. Mr..
Aialatesta has r remarkably clear cnun-
ciation. which is a valuable asset in the
part of Bartolo as he plays it. Occasion
ally he would interpolate a few words in
English to the great delight of the audi
.ence. which never failed to catch them
INSTANTLY.
Mr.. Mardones, too, is in a class by
himself as Don Basilio. He has all
the histrionic ability of Mr.. Malatesta.
which is saying great deal, and in
addition he has quite the finest bass
voice in range. power and tonal beauty
that is now before the American public.
In last evenings performance he in
tantionally sacrificed some of this
beauty of tone for the obvious comedy
of the opera. just as Mr.. Malatesta
did the same thing to gain in speed OF
enunciation. but the pair made a com
bination which cannot be eQuallcd
among the operate singers Of today
Mmc. Barrientos as Rosina gave
Q new conception Of the part. differing
essentially from that of Frieda Hem
pei of year ago. and as radically from
that of Cali -CurCi. despite the fact
that both she and Nine. Cali Curci are
Of Latin blood. although of different
''brands." so to speak. The Rosina
Of Nine. Barrientos is like her voice.
delicate to the last degree. but refined
and altogether lovely. Owing to certain
facial peculiarities of her style of sing
ing, Nine. Barrientos was at some
natural disadvantage in comedy part.
notably in the second act. and it was
not until the famous lesson scene" in
the third act that she showed her true
mettle. In this she sang first the "Voce
di Primavera" waltz of Johann Strauss.
and so enthusiastic was the applause
that she was compelled TO respond with
the exquisite coloratura aria from The
Pearl of Brazil" Nine. Barrientos was
In good voice. and although occasionally
overcome by the orchestral enthusiasm
Of Mr.. Papi, gave an altogether fine
Performance.
The Figaro OF Mr.. Amato was
rather uneven. but was generally good
The great buffo song Largo al Fac
totum'' in the first act was nor done
80 well as it has been here. the rhythm
being uncertain and the enunciation not
sufficiently clear. At other points in
the opera Mr.. Amato showed to fine
advantage and was good in his acting aS
well as his singing.