New-York tribune., 1921-04-02
Mugnone Wins
Great Ovation
Directing Aida
Audience Again and Agai,
Cheers Veteran Italian.
Friend of Verdi. as He
Conducts Latter's Music
Puts New Fire Into Score
Aged Maestro Dominates
a Stirring Performance
at Lexington Theater

Last evening, just one week after the
riotous scenes that attended Willem
Mengelberg's farewell concert at Car
negie Hall, there was another demon
stration in honor of a conductor. This
time the ovation was for the veteran
Italian, Leopoldo Mugnone, who con-
Quoted a performance Of "Alda" for the
first time in America at the Lexington
Theater.
Maestro Mugnone's compatriots. who
formed the larger part of the audience.
rose and cheered the conductor as he
stepped to his post through the ranks
of the orchestra, and after every act he
was repeatedly called upon the stage to
share with the singers in the applause.
Toward the end of the second act, after
his stirring reading of the triumphal
march. enthusiasm reached a climax,
and when the curtain fell Mugnone was
presented with q floral Tyre.
The conductor is one of the few re-
naming links with Verdi whose friend
and crony he was. In Italy he is con-
sidered second only to Toscanini as a
conductor OF opera. Admired and re-
spected by his fellow musicians, it was
he who prevented Mascagni from mar
ring the effect Of the final scene of
"Cavalleria Rusticana," when the COM
poser wished to add closing chorus,
and insisted upon the present dramatic
ending.
Puts Fire Into Music
Last evenings performance was an
evidence Of what can be accomplished
with somewhat crude material by q
master hand after but two days OF re-
hearsal. Mugnone conducted his
friends score with IAN almost religious
fervor, breathing fire into the music
that has not been played here with
such glowing intensity for many a day.
Not note was played or sung. not a
gesture was made by principals or
chorus, that was not controlled and
directed by this virile sexagenarian
whose dominating personality kept the
his beat. And the result OF his tire
less energy was not all noise. His
pauses were as eloquent as his
climaXes In the gentler moments OF
the opera, in the Nile scene, for e.
ample, his reading Of the music was
poetic in the extreme. Mugnone is an
admirable artist, the grand old man
among conductors.
AS to the singing. the performance
was In keeping With opera as 1t Is
understood in Italy, matter Of good
ensemble rather than individual artis-
tic prominence. Three singers, how
ever, Mr.. Caprara, the Radames; Mr.
Picchi, the Ramfs, and Mr.. Barbieri
the Amonasro, created marked i'm.
preston by. the beauty of their voices
Further opportunities to judge theil
work viii be afforded at future per
formances. Miss Pacetti, the Aida. was
not always inclined to sing true te
pitch. but this may have been due to
the nervousness of first night.
Shows High Dramatic Power
She acted the part with more dra-
matte power than many singers Of
greater renown. Miss Frascani, the
Amneris, revealed pleasing voice
and general familiarity with operatic
traditions. The chorus will doubtless
show improvement in future perform
ances.
Among Italians present to welcome
their distinguished compatriot were
Colonel Marchese di Bernizzi, military
attache, and Marchesa Bernizzi, and
many members Of the Metropolitan
Opera Company, including Antonio
Scott, Giovanni Martinelli, Giuseppe
de Lucca, Claudia Muzio and Roberto
Moranzoni. Engico Caruso was rep
resented by his son, Enrico jr., and
by his brother Giovanni Caruso, who
with mis- neDhew occuDied a hoy