The New York herald., 1922-03-25
Whimsical Comedy With Mo-
Zart Music Has Artistic and
Admirable Production
BY w. j. HENDERSON.

II might be exaggeration to say that
the production OF Cost fan Tutte" at
the Metropolitan Opera House last eve
ming was the most laudable of Giulio
Gatti-C -Casazza's administration. but as
an artistic presentation Of an opera de-
manding the best efforts of the inter-
pretative intelligence of an operatic in
stitution it placed itself beside the his
toric revelations which made the Metro
politan famous
In the first place it restored the ir,-
mortal name of Mozart. not in its fullest
luster. TO be sure. to the list OF com
posers whose songs may still be heard
in the place where they should be heard
Secondly, it demonstrated that within
the Metropolitan Opera House. which
has bestowed much Of its recent ener-
sies. consideration and taste on the
recussitation of what Schumann called
"slashed and mangled opera jingle" the
fire OF high artistic ambition was still
ablaze and that a conductor. a scene
painter and singers could be found to
present this whimsical opera buffa in
manner even more admirable than
that of the sacred Residenz Theater Of
Munich
Therefore to-day let there be general
rejoicing in that Mr.. Gatti-Casazza had
the courage to venture into the subtle
intimacies Of Mozart's art. that Joseph
Urban was able to design and paint for
the comedy such perfectly eloquent
scenery. that Mr.. BodanzlSy could lead
all the musical forces concerned iI the
representation to such ardor such APP
probation and such polished methods OF
expression. and that in the company
singers could be found who could so de.
lghtfully cooperate in a vivacious and
captivating performance OF an opera
hrimming with farcical fun and stream
ing with melody.
Rnyishfng Seaside Picture.
IT is generally conceded that modern
operatic manners are rude and that
Mozart singers must be musically well
bred. Ten minutes OF "Cosi fan Tutte'
will serve to convince even the young
generation of operagoers. who have
been brought up on "Pagliacci" and the
big drum in song that for this elegant
foolinG OF tho eighteenth century Vienna
/ something very different Is demanded
The ravishing picture Of the seaside
garden in which Fi0rdiH0i and Dora
bella parade their voluminous skirts and
their decorous curls. the deft manipula-
tion OF the wires by the cynical but al
7 ways courtly Don Alfonso. the pert in
trusion Of the smart Despinn into the
love affairs of her mistresses and the
/ lamentable weakness of the signing
SWANS who fall SO easily into the trar
set for them. all set forth In action which
makes pictures like those of a Watteau
and music which sings comedy o.
manners in every conceivable acceI
from broad travesty. 10 the mcst celes-
tial chanting Of maiden emotions fright
! pnad n ~ Al fe
evokes an operate spirit and a theatri-
cal enlargement far removed from the
styles to which the daily opera goer Is
accustomed.
The problems Inevitable to an attempt
to perform "Cosi fan lutte" on the large
stage of the Metropolitan have been met
by q very clever subterfuge. We are
permitted to behold a stage within a
stage. The action Of the opera-except
in matters to be mentioned later--takes
place on a small raised stage some dis
tance behind the footllghts. This little
stage has its own footlights Of the old
fashioned type. each one apparently an
oil lamp with a green back to keep the
light out or the eyes Of the audience.
You can see the glass lamp shade and
YOU can see the powdered attendants
touch their torches to these lamps be-
fore the opera begins.
The little stage Is draped on either
side and above with handsome curtains
gracefully festooned. and a small flight
of stairs leads up on each side from the
real stage. Curtains on the small stage
open and close on the scenes of the
opera, and In the last act we find that
the problems Of presentation made il
impossible for the devisers of this plan
to Keep all their action on their min
iature 9tage. Some OF II takes place
while the small curtains are closed. and