New-York tribune., 1921-01-30
Verdi's Opera
Religghts Fires
OF lnquisitioll
Don Carlos Revives Them
"a Hours Before Illness
of Caruso Extinguishes
Sparks at Metropolitan
Catti's Motive in Doubt
Miss Ponselle Is Agency
Through Which 2 Operas
Are Added TO Repertoire
By II. E. Krehbiel

Nobody, so far as we know, has ever
inquired into the psychology of the fact
that the fires of the Inquisition were
ever dragged in to make an operate
holiday. But they were. and probably
soug before Scribe and Halevy collabo-
rated in the making OF LA Juive."
How long before, how often and by
whom, are questions which are less in
seresting than the singular coinci-
,lence that twenty-four hours before
Signor Caruso's illness extinguished
them on the stage of the Metropolitan
Opera House, they had been lighted in
yerdi's Don Carlos"
We do not feel that their lurid glare
IS particularly significant in operatic
history. but Mr. Gatti has made US re-
aiize that they are serviceable to his
ends III the production of the two
operas mentioned. 1t is no part of our
business 10 inquire curiously into the
motives which prompted him to make
the two revivals, but they were prob
ably much akin. In two cases he seems
with repertory, and who, because of
youthtuness ard the lack of expert
ence, was willing to make one out of
works OF which 1t must at least be said
that they are not in the threadbare
hurdy-gurdy list.
Miss Ponselle's Appearance
The singer, of course. was Miss Pom
selle- Mr.. Caruso's repertory was less
IN need of replenishment than Miss
Ponse les, bat circumstances made it
desirable that the veteran should come
to the aid of the novice And therefore
We had La Forza del Destino' and LA
Juiyen
In the first instance. therefore. we
may look to the presence of Miss Pom
sci IN the Metropolitan company. as
the agency which added two old operas
by Verdi and much older one bv Hal
evy to the local list Whatever NAV be
thought of the value of these works,
from the present day point of view, cir
eumstances have lent considerable sig.
nlficance to the production of Don
Car os"
Nothing was sacrificed to make it a
star opera and it has, therefore,
served to elevate the standard of Mr..
Gatti's ensemble presentations. 1t
vas originally created for the Grand
stance OF scenic accouterment are es-
sential to it,
Such furniture Mr.. Gatti has shown
himself more and more willing to pro-
vide as the other and more essential
attributes OF his performances have
waned; but in the production of "Don
Carlos" he has effected a happv union
OF all desirable elements. The opera
IS gorgeously staged we'll dressed. we'll
sung, well played instrumentally and
we'll acted
All these qualities were emphat:callv
IN evidence yesterday afternoon. when
the opera had its fourth performance.
Miss Gordon as Princess
There was change from the earlier
east which, while it could not add
glamour to the representation. at least
served 10 lift into notice the general
excellerce which is at the command Of
Nr' Gatti's forces. Miss Jeanne Gordon
assumed the part OF the Princess Eboli,
heretofore had by Nine. Matzenauer'
Sne sang and acted it excellently.
2ivlng Il more dramatic distinction. in
aeed than that possessed by the Eliza
beth Of Valois CT Miss Ponselle
~ no role has Mr. Martinelli been
quite so admirable, it seemed 10 US, as
- IT IN u role If the work
-e makes o. II IN all respects gallant
graceful and manly figure, and is well
GSomp@nioned in the Rodrigo of Mr.. De
re opera is in much rather pallid
Issex OF the Meyerbcerian works
which had fixed the stvIe Of French
Grand opera when Verdi composed Il
ior Paris; but though only spark
was csrried from lie Prophete" int the
.nlrd scene Of the third act that spark
ourst INTO bright fame when the
composer and Camille du Lode col
..s23 '@oorated again in the production Of
Not only in the use Of dramatic an
parafus but in the music also ire
r1tl.ef opera. presages the later. Bat
wnat gulf between,