The New York herald., 1921-01-16
LOUISE LACKS FRENCH FLAVOR
AS SUNG AT THE METROPOLITAN
Miss Farrar, in Title Role, Too
Well Dressed for Work
ing Girl.

Gustave Charpenier's opera Louise"
was performed at the Metropolitan Opera
House yesterday afternoon for the first
time under the direction Of Mr.. Gatti-
Casazza The work had been given there
previously only by the Chicago Opera
Company, with Miss Mary Garden in the
name part. The work was no stranger
however, to the present impresario of
the Metropolitan, for laboring in en-
thusiastic harmony with Arturo Tos-
canini, he introduced the opera at La
Scala and was promptly berated by the
Milanese press. He had enjoyed a SIM
liar experience when, cooperating with
the same great conductor. he paraded
certain works of Wagner before the un-
happy Lombards.
But the impresario knew long ago
that Americans were well pleased with
Louise" and without doubt his only
reason for not gathering it into the
repertory Of his institution was the feel
ing that he might be charged with try
ing to appropriate the thunder OF Chi
cago. Since Louise" is no longer one
of the specialties of that company, and
since it's present director, the inimitable
Miss Mary Garden has elected to de-
vote the maturity of her art to the inn
personation of Aphrodite and other less
impressionable heroines than the Paris
ian sewing girl. no possible censure can
be made of Mr.. Gatti-Casazza's action.
And Miss Farrar is pressingly in need
of new material.
Quality of the Production.
Commentary on Carpenters opera is
IL
brief observations may be found else
where in this paper by those who are
interested in such superficial criticism
of lyric dramas as are now acceptable
in diurnal print. The subjects here to
be discussed are the general artistic
quality of the production, the imper-
sonations of the principal performers
and the scenic garb. which in all con-
temporaneous representations at the
Metropolitan assumes such Importance.
Since Louise" belongs to a pseudo
veritist school. in which a fabulous
Montmartre and an idealized Paris are
presented as realities, the scenery adj
mits of no spectacular glory. The in
teriors OF Louise's home and the dress.
making establishment and the exterior OF
the latter and the Montmartre hill are
excellently designed. The ridiculous sky
rockets, however, might be omitted from
| the latter.
The general artistic quality of the per.
formance was not what it probably will
be when custom has smoothed the way
| There was little of true French flavor
Nine. Berat as the mother, sincere artis
at all times, presented once more a por
trait which she made familiar to US IL
former days. and II was made in France
Nine. Raymonde Delaunois. Belgian, wa.
also Gallo as Iy1nn, one of the sewing
! girls. and she sang like seamstress.
Miss Farrar was decidedly not French
nor was she the poverty stricken daugh
| ter of a workingman She wore goot
| clothes, shoes and stockings. Julie,
might have had misgivings Miss Far
rar's voice was in very poor condition
and her singing throughout the opers
was feeble. although she made brav'
effort at "Dupuis la jour"
Her impersonation of the youni
woman devoured by the desire of life,
and delighted with her introduction t.
! Ii, was uncertain. Without doubt il will
develop into something much more def
mite. Miss Farrar usually improves il
her parts. Yesterdays Louise was bu
a peevish girl, dissatisfied not so mucl
with the hard conditions of her home a
with the attempts of her decent fathe
to keep her in a similar state.
whitehill ms the Father.
Mr.. Whitehill. who as the father be
| gan and ended the tragedy. found a con
genial role. 1t would be exaggeratior
to say that he measured fully up to it.
| possibilities. but here again the trial1
of a first performance must be consid.
cred. The father, the mother and Louis,
are the real people in this opera. Julie,
! is necessary evil. The girl cannot b,
led astray without the employment of q
male monster. and Julien is about a.