New-York tribune., 1921-06-19
Special Correspondence of The Tribune

oDeC1ON correspondence OF 1he Tribune
ROME, June 9.--Pietro Mascagni,
whose recent opera, "Piccolo Marat,"
was recently produced at the CONSTANT
Thcater here, is contemplating a tour
to South America in order to be present
ir Buenos Ayres, when the opera is
given there.
Whether he will change his mind at
the last minute no one, least of all his
| impresario, Walter Cocchi, can say
Mascagni, in spite of his forty and
more years, still playes the role of the
spoiled child, which appeals to his
| friends and admirers. 'L'enfant gate"
they call him. When rehearsing the
new opera at the Costanzi he ragged and
fumed when things went wrong, and
three times postponed the date Of the
first performance. This was just what
was expected of him, and the Ro-
mans good naturedly waited until the
maestro was ready to fix the day. The
house had been sold out for weeks, and
fabulous prices were paid not only for
orchestra seats but also for those of
the gallery. Friends who had not been
fortunate enough to secure seats were
allowed to attend the dress rehearsal,
which was all the more amusing on ac-
count of Mascagni's violent RACES when
bitches occurred. Unlike his friend
Toscanini who threw the baton at one
of the orchestra last year, he is never
inpatient with his musicians, but gen.
orally with the stage manager. One rea
son why the maestro was impatient
and nervous was due to the fact that
the opera was the thirteenth which he
had written, and he is superstitious.
Great care had been taken with the
cast and the costumes. The prima
donna was Gilda de Rizza, who sang
lsabeau ten years ago.
For years Mascagni had planned to
write music depicting the French Revo-
luton and it's terrorism, and, though
searching for an episode, he had waited
over ten years for it. His friends knew
of his interest in this period and often
discussed various themes with him.
About three years ago, when he was at
his villa at Antignano, Gioacchini
Forzana, the librettist, sketched in
words the episode of the shipwreck
(Noyades) at Nantes, when the French
aristocrats, by order of Governor Car
rier, surnamed the Terror, were put
into a specially constructed boat and
towed to the center Of the river. There
the boat was sunk and the aristocrats
died like rats in trap. From that
evening the composer thought of moth
ing else. Two years ago Forzana
brought him the finished libretto, and
for two whole years Mascagni worked
on the score.
The story of the "Piccolo Marat" is
laid in Nantes, in 1893, during the ter
rorist rule of Governor Carrier, the
"Orco." All the city is under his bloody
rule. Among the aristocrats who are
doomed to die is the Princess de
Fleury, mother of the young Prince,
who, in order to save her, has decided
to pretend he is a revolutionist. Only
a few hours are left in which to rescue
his mother and he is wondering how he
can manage it, when, on the street by
the bridge, he sees young woman pur-
sued by crowd She is Mariella, niece
of the Governor, and she is taking to
him some delcacies in a basket. The
hungry crowd, suspecting that the food
is good, attempts to insult her. Fleury
rushes to her help, and by deft trick
substitutes for the fine food some saus-
ages and bread which he has in his
pocket. The crowd is satisfied, and
Mariella insists on bringing her gallant
to the room where her uncle is await
ing her. When she tells him the tale
he compliments the youth and makes
him one of his soldiers, called Marat-
lists. He gives him the title of "Little
Marat" and puts him in charge of the
pFison where his mother is contained
Although she has only few hours to
live her son tells her that he is sure to
save her. He steals the paper which
sentences her to death. The Governor
discovers the theft and blames his