Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-01-05
PUCCINpS "BOHEME" SUNG
New italian Tenor Confirms Favor.
able impression at First Appearance

| Alclndoru' ',,.,.........,,.,.,P ,Paolo Ananlhn
A Sergeant. .NmCeuZo ReschigliIan
COnduCtor--Gennaro Papi
The Metropolitan Opera Co. opened
the operate new year with an excel
lent performance OF Puccini's opera
La Boheme," which, if opinion be dl-
vded as to its being the best of his
works, can at least claim to be the most
sincere.
The cast was we'll balanced. il not
especially brilliant Naturally most of
me interest centcrcd in the new Italian
tenor, Beniamlno Gigli, who made so
favorable an impression in the last
Philadelphia presentation of the Metro
poIltan Co. But somehow his voice
seemed lighter last evening in "Bo-
meme than 1t did against the tremen-
dous orchcstration of "Mefistofclc. In
quality It leaves nothing to be desired,
lt Is a yric tenor Of the purest type
and the method" is perfect. But in
one OF the great love parts of opera Mr..
ugh as yet Just fails vOcally to put
IT across. Perhaps experience will
correct this. Dramatically he is far
ahead of even the exceptional Italian
l'hor OF his years and experience. This
was especially shown in the reserve and
pGthoS of the concluding scene where
S,I'ht grief was more convincing than
the loud squalls in which even the
greatest of Italian tenors INDUCES in
nIS particular scene. Mr.. Gigli scored
especially in the few "set' scenes of
tne o,ncra, 'Chc gelida mamma" the
uuet Wi chiamanO Mimi" and the en-
'lnS Soaye fanciulla," and again in
u" duet in the closing act.
Nine. Aida showed the same artistry
&WAIrh characterized her Interpretation
4ol III" part with Mr. Harold in his
xn,"Inoroble performance of year ago.
l"''H que allowances for the differences
IN interpretation of the role between
MT: Harold and Mr.. GigIi. triumph
"HIGh was dramatically that of Mr..
T'lSIl and vOca!y that Of Mr.. Harold.
Tvs was to be expected, Nine. Aida made
most perSonable Mimi and was vocaly
n''tIN"' especially in the duets and in
f"' famous "Addio" of the third act.
Nr' Scott was Marcello and nothing
WHIT need be said as to the part. No-
"'H II" has all the freshness of youth
ms voice and dramatically Scott is
4 Ways dangerous to the rest Of the cast.
IN one OF the supreme actors of the
l"'all" stage and If sometimes he
"n'lnllcS the scene by sheer force of
nrHohaIlty when the lbrcttist and the
"npoS"r have willcd otherwise that is
fcHrreIy his fault.
hLSS Anne Rosellc made her Phia-
ntphla debut in the tricky part of Nm-
ruu' ru. She was a bit overdrcssed in her
&S' appearance. but in tho third and
I"s'hs acts did the part admirably
Ihnivolce Ih"L voice seemed to be affected by her
,'ouS nervousness in the opening
1r'neS, but gained in color and quality
n"r acting acquired confidence as the
1"Tn progressed. She is bit stately
H. 'hc ideal Musctta, but made sue
"SS of the role,
mere are few Small" parts in "Bo.
GmC,,' for there are few operas in
Wnich the balance of cast is so well
alhtained The 20 called "minor"
arts We're all well done and the con
ue'or, Mr., Papi, read the score with
tuhlllarity, and the enthusiasm
tudy. ~ s "Au ea'eiu'