New-York tribune., 1921-04-24
By Katharine Wright

The close of the thirty-siXth season
II opera at the Metropolitan Opera
House is recorded to-day with chronicle
and comment on some of the incidents
II the thirteenth year of Giulio Gatti-
casazza's management Of the Metro
rolitan Opera Company.
Taken as whole, the season of 1920
~ was not remarkable for it's bril-
lance The management was called
upon to cope with serious problems
arising from illness Of members Of the
company. which in one case necessi-
,a,ed the postponement of new pro-
Suction, Andrea Chenier," and on
other occasions resulted in changes
Of bill and the substitution Of other
singers for those already announced,
Properly speaking. there was but one
novelty, Weiss's "Polish Jew"-not to
mention Pick Mangiagalli's ballet "IlI
Carlton Magico'--Mr. Gatti having
chosen to place his faith in revivals of
Don Carlos" which had been given
only once before in this city, at the
Academy of Music, under. Maretzek's
Management in the SOS, and was.
therefore, practically new to the pres
sat generation of operagoers; "Andrea
Chenier," which had been given at one
performance under Oscar Hammer
STEMS management at the Manhattan
Opera House and later by the Bos-
ton Opera Company; "Mefstofele.
Louise Tristan and Isolda" and
"Lohengrn." OF these, the operas bv
Giordano and Carpenter had never
before been included in the repertory
Of the Metropolitan Opera Company
Before the opening of the season on
Monday, November is, there was talk
Of a possible revival of "Lakme,' or
Tales of Hofmann,' but these tenta-
tive plans were not put into effect.
An Unsuccessful Novelty and Other
More Popular Features of This
Years Repertoire Music
Unfortunately the outstanding novel
ty, The Polish Jew which in work
manship and cast represented an anus
ing potpourri of nationalities, was not
made of the stuff that endures. In
certain respects the operate libretto,
based on the melodrama made famous
by Sir Henry Irving as "The Bells"
was an Improvement over the stage
version But again, unfortunately, in
operatic representations music, not the
play. is the. thing and however excel
lent the histrionic achievements on the
part OF the company, however interest
irg the tale unfolded, however lavish
the settings and mise en- scene, if the
music is Insignificant the work may be
set down as failure. In this case the
performance impressed the hearers as
hne old melodrama, piping hot, with
Incidental music. for Mr.. Wess's score
not only failed to reveal the slightest
merit as to musical ideas but in no
instance rose to the opportunities for
Inspiration provided by the dramatic
story
Don Carlos" was source of his
torcal interest. One of Verdi's early
operas, it showed him struggling with
the operatic elements of length and
pageantry required by French operate
standards. incidentally it provided an
opportunity for an elaborate ballet,
which, staged on the magnificent scale
that invariably marks productions
under Mr. Gatti's management, was
bait to lovers of the spectacular and
in itself worth at least one visit to
the opera house. A royal procession
not unlike the coronation scene in
Boris Godunoff" was another chance
for scenic pomp and splendor.
Louise" added to in order to pro-
role, was triumph for the manage
ment in more than one respect A
spectacular opera, of which Pari; the
beautiful, Paris the alluring, is the
real heroine, the settings at the Met
ropoltan reflected the spirit of the
city with uncanny fidelity. Another
merit of this performance was the ex-
ce!lence of the singers selected to i'm
too much praise can hardly be
showered upon Nine. Louise Berat and
Mr., Leon Rothier for their portraits of
the Mother and Father, which, in real
istic simplicity and ruggedness, touched
perfection.
From a popular standpoint "Ardrea
Chenier" was perhaps the most sue
eessful opera, new to the institution,
neard this season. Here again spectacle
and dramatic interest predominated,
out In this case the theatrical element
was welded to agreeable and significant
PROFESSIONAL ENTERTAINERS
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