The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1922-02-28
SAMSON SUNG
.bRAVELY UNDER
BIC HANDICAP
Audience Well Pleased by
Opera Performance in Gen.
trail High School.

Handicapped with the vicissitudes Of
changing suddenly to an unequipped
theater In its use of Central High
School. instead Of the National
Theater, and burdened by last-minute
problems that jeopardized any pro-
duction Of Samson and Delilah" last
evening. the Washington Opera
Company came bravely through its
difficulties by giving a complete per-
Torrance of Saint.Saens' opera before
an audience OF good proportions.
Samson and Delilah," however, Is
not a happy choice even for the
strongest of professional companies.
1t has small appeal in it's music.
which Is chiefly declamatory, and 1t
Is dreary except for a short bac-
chanale in the last act. To have
achieved 30 dignified and broad a
rendition is therefore doubly to the
credit Of these singers, who. with the
exception of three principals, are
Washington singers.
Eleanora de Cisneros made an i'm
posing Delilah. Her voice Is rather
| light for the music, but II is sweet
and expressive of the lure that the
French composer has put into her
arias. In Nicola Zerola the part OF
Samson found a forceful and effective
! interpreter. Mr.. Zerola has a dTa.
matte voice that is resonant with
| brilliant climax power in his full
| top register, yet he possesses a must
cal quality OF sweetness that made
! his pathos all the more gripping. He
Is finished artist, too. Charles
Trowbridge Tittmann, In two small
roles, brought the beauty Of a rich
bass voice into equal Importance with
the principals. While Hollis Edison
Davenny, as the High Priest. was
effective in his duet with Delilah,
but his singing was muffled some
what covering a voice OF decision and
dramatic authority.
II Is essentially n mans opera
Three minor roles were excellently
taken. with Herbert Aldridge deser':
ing special mention as a Messenger
OF the Philistines. and Albert Shelter
| man and Walter Matson balancing
1.-The cast.
| The chorus was extremely large
and notably sang the eXacting score
with lctterpcrfect attack and with
| the spirit OF the music. Youth In
| the voices was apparent, the only
! criticism of them would be in the un-
! "ltiuS IIldSS anu III a u uttlLt55 Va
! makeup that was not professional
The two principals in a free and or
Hamental ballet that helped the pic
turG were Paul Tschernikott and
Genevieve Pyle, who gave some
splendid touches in the modern Rus.
sian ballet type.
! To Arnold Volpe and a very good
orchestra much credit Is due for the
musical values OF the opera and for
welding these large forces together
( SO admirably. Much appreciation
was shown. with curtain calls for
principals and for the directors who
have accomplished 50 much. Edouard
Albion has brought about a justifi.
cation OF his work for opera out OF
community, although Samson. y
because of its lack Of appeal. does not
duplicate the brilliarCy Of Aida" of
last year. Samson" by the Wash
ington Opera Company is a foretaste
OF what we may expect when Wash
ington offers facilities for the realiZa-
ton OF the many endeavors that are
at present crippled by lack OF a place
| TO work in and TO produce in.
JESSIE MacBRIDE.