New-York tribune., 1921-11-27

undertake the part. This was absurd
operatic queens generally have their
| own way in matters of repertory, and
beiieve now, as l believed then, that
Mime. Nilsson chose the part because
she had a fine appreciation of the high
style which it exempliied. The incest
| discrimination was displayed by Mozart
N moulding the characters of his three
women, ana though Donna Elvira has
less in her composition to appeal to the
sympathy and admiration Of the ordi-
nary operageer than either Donna Anna
| or Zerlina, she is none the less a per-
sonage of commanding Importance in
He must have been intellectually blind
who did not see how Nine. Missions
| impersonation of the abandoned Dido
helped to emphasize an essential ele-
ment in the character of the dissolute
Don. The deserted wife who goes
| about threatening revenge and when
ever opportunity offers takes it out in
loving the author of her misery more
than ever, ought really to dominate
the play, and this Nine. Nilsson did
| by her fine acting and the grandest ex-
hibition Of style in singing which she
! ever gave in the airs, "Ah; chi mi
dice mai" and ami tradi quell' alma
ingrata," twin relics of 8 manner al
ready archaic in Mozart's day, but to
which Nine. Nilsson brought illumina-
tive understanding and lovcliness.
Boito's Margherita and
Helen of Troy
The singers next opera in the me-
morable season which is passing before
me in retrospect was Boito's "Mefisto-
fele." Nine. Nilsson had created her
strongest impression in Paris by recre-
ating the part of Marguerite when the
opera was transferred from the Thea
4 ter Lyrique to the Grand in 1859. But
in other European capitals, especially
in London. she had identified herself
even more intimately with Boito's
heroine than Gounods, or rather with
Boito's twin heroines, for it was she,
believe, who introduced, or fixed, the
custom of having one performer for
Margaret and Helen Of Troy. 1t is a
questionable practice, but / would find
it more deplorable than l do if Boito
had left more of Goethe's Gretchen in
his opera, or put in less Of the Trojan
Helen. AS for Gretchen, Boito in his
revision of the opera to make it accept
able to the public, gave US so little of
the village maiden that it does not
make much difference how it Is acted,
except in the death scene, which occurs
rather late for effective character de-
velepment. Thirty-eight years ago we
should gladly have given the part Of
Margaret to anybody if it had been
necessary to retain Nilsson in the
classic intermezzo. There she was all
that the fondest lover of Greek ideals
could imagine - regal in beauty and
carriage, serene in po"e and gesture
transporting in voice and song. The
loveliness, the majesty, the puissant
charm of perfect woman Of the classic
type, all were hers. There has been
no Helen for me since her departure
from the metropolitan stage.
On December 20, 1883, Nine. Nilsson
created the role of La Gioconda in
Ponchiellis opera, which then had it's
first American performance. 1t was the
only real novelty of Mr.. Abbey's dis
astrous season, but it has remained in
the repertory of the establishment, while
scores have gone into the limbo Of OBJ
livion since. Touching Nine. Nilsson's
performance, said in The Tribune on
the following day: "Mme. Nilsson has
in Gioconda part that enables her to
display her strong tragic powers in an
admirable light. She did not slight it
in any respect. and kept the audience
in a state Of almost painful excitement
by the vivid manner in which she de-
picted the sufferings of the street
singers" That was all. The rest Of q
long article was devoted to a study Of
the new work, for even in those early
days The Tribune's reviewer seems to
have thought the song more important
than the singer He is probably incor-
rigible now. There was an interegnum
at the opera house in the Christmas
holidays, then three supplementary per-
formances. and finally spring season,
&C which Nine. Sembrich introduced the
/ opera Hamlet" and Nine. Nilsson
added Valentine, in Lies Huguenots,"
to her gallery of operate portraits. her
associates being Nine. Sembrich, Nine.
Scalchi, Italo Campanini, Signor Kasch-
mann and Signor Del Puento. Can a
cast be mustered at the Metropolitan
to-day which will measure up with
! thisf
4 One incident of the season deserves
4 special mention. Mr.. Abbey was left a
bankrupt On its conclusion and seven
years of German opera at the Metro
politan---eventfni years, fruitful Of re-
'As~~lts past present measuring. A ben