New-York tribune., 1921-02-22
LeOllcayallo's
'Edipo Re Has !
n. Y. Premiere
Ruffo Scores Big Personal
Success in Strong Role of
King Gdipus, but Music
of Opera Is Commonplace
Story Is a Greek Tragedy
Composer Fails to Achieve
Merits of ''PagIiacci''
i'm Posthumous Offering

Leoncavallo's posthumous opera, in
one act, "Edipo Re-" was given for the
first time in New York last evening at
the Manhattan Opera House, by the
Chicago Opera Company. 1t was rot
the first time. however, that Greek
tragedy turned into opera graced the
stage of the Manhattan for the same
theater housed Richard Strauss
electra" in the reign of Oscar Ham
merstein.
The transition of Greek drama from
the theater of the spoken word to the
operate stage is easily understood as
a source of inspiration for composers.
The emotional field is fertile and there
is the ready-made chorus. But while
the late Leoncavallo has been faithful
20 the unfolding of Sophocles's tragedy
as regards the actions of the principal
personages,< he has eliminated most of
the portions allotted to the chorus,
which plays a wholly secondary part in
IN opera The subject is not q pretty
Gne, QdipuS's destiny, written IN the
50 RS, is far more horrible than a
Dunsany Doom or than the Little
]'ormles. Fears that assailed the En-
peror Jones'
Patricide and incest are a large or
composer, still the thought that under
lies this tragedy, the futility of any
attempt to escape Fate and the equal
certainty that he or she who dances
must pay the piper might we'll have
inspired pages of nobler music than
was heard last night.
Written for Ttta Ruffo the work
might we'll be called "Titta Re-" for it
is more setting for the vocal out
pourings of this barytone. whose voice
has the vastness of a cathedral than
an attempt as musical protrayal Of
Greek tragedy. Except for the en-
trance Of Jocasta and fugitive lyric
moments, which soothe the ears, the
lacking in depth, and wholly without
distinction. Leoncavall1 remains COM
poser Of one opera. What Immortality
he has lies in "Pagliacc;.'
Mr.. Rutfo, who san~ the part for the
first time anywhere in Chicago, Deem
Ter l3, 1920. is not the frst to imper-
senate the unhappy King of Thebes
Most itinerant Americans remember
MounetSully's magnificent perfor-
nance in the play as given at the
Coincide Francaise, Paris. Others speak
g a performance in Greek given at
saunders Theater, Cambridge, in the
SOS, when George Riddle was the
0edipus, and for which Professor
iohn K. Paine wrote an overture, in
c.dental music and choruses MIR.
Riddle later starred in the part at
Boot S Theater in this city
Leon Cavallo's Oedipus is d taxing
10 During the sixty odd minutes
cf the opera $ duration, with the ex-
yption OF short and vehement musical
'Htet'Ude, which nerrrits the hanging
nd binding to take place behind the
Genes. the kim is constantly upon the
tage aad as constantly singing. Meyer
RuiFo scared to greater vocal
heights, never has he acted with
E.. &. ,-r sincerity and impressiveness
His performance was not only an ex-
raordiraly exhibition of vocal en-
duranee, but one of high artistic
c4hbcr. lie did not abuse the ap-
oortunities offered him BIZ the com
poser. He did not sing in italics He
vas kingly in bearing, musically
heroic in Titan role.
Miss Dorothy Francis, the Pocasta,
lacks the experience and the years to
morc than dimly suggest the woman
that Was Jocasta. She sang jntelli-
gently. often sympathetically, but was
ior the most part amateuriSh in her
acting. The small parts of Tiresius.
Creon and shepherd We're excellently
taken by Mr. Dentale, Mr. Paillard and
Mr.. 0Iiviero. The chorus did we'll what
little was required of It, The facade
of the palace or Thebcs was staged
with due maguifcenee
S3int-Saens "Danae Macabre" and
The Dance OF the Hours" from Pom
chielIi's La Gioconda," were given by
Iessrs Pa8ley and Oukrainsky and
the corpa de ballet to round out the
eNeNiMn.