New-York tribune., 1922-12-03
Chaliapin Reveals
NIany-oided PhIlip
I'm Don Carlos AIRS
Best Scene Is Soliioquy in
Third Act, Wherein hc
Gives Vivid Impression
of Anguish and Despair

II one, inspired by Velssquez and TO
nance, should eonjure up a mental
image Of Philip II of SPAN, it might
we'll be very like the Philip Of Feodor
Chaliapin. who made his FIRST appear
snce here as thst monarch yesterday
afternoon at the Metropolitan, in "Don
Carlos" and showed that he could be
as enective as a king OF Spain ss IN
the part OF a Russian czar.
Emphasizing the dramatic value OF
his part, ne gave a Philip Of many
aspects; at hrst q character 70 detest,
but sympathize with later on--one OF
cold, conndent arrogance was his at
tltude in the first act, while IN tne
second he WAS magnificent 20 behold
but yet not sure OF his power, fearful
OF uisaster. Inc best scene was the
soliloouy, usually omitted, which opens
the third act. Here ne gave vivid
impression Of mental anguish and
despair, borne out by a SOFT voice OF
unusual beauty. Applause, Of course,
was prolonged, but hr. Chaliapin
signed for SlIence and repeated the
,ast part of the scene. This, drnmati-
caiiy, was a pity, for IL broke the spell;
Mr. Chahapin had stepped out OF the
character, ne was no longer the suffer
ing Spanish king. but singer re-
peating a well-sung aria. But then,
what is drama when II conflicts with
fame:
Mr.. Chaliapin was, undoubtedly, the
central figure, but there were others
and others who did very well espe-
cially Mr. De Luca as the faithful com
panion, Rodrigo. His voice was re-
markably pure and pleasing, while inc
dramatic element was well brought out
fn hiy scenes with the king and Don
Carlos, and especially his death scene
II was pleasing 10 note that ne won
his due applause in an unaeeompanied
appearance before the curtain.
Mr. Martineli was in good voice as
Don Carlos, a properly passionate lover
with ringing tones that rarely II ever
were rough. Both these artists
az "bel canto" we're In contrast TO Mr.
Chaliapin, who laid the greater en-
nhasis on the dramatic aspect, the less
on the yoealizstion-pot, OF course
tlat one can or would disseet MI
Chnliapin's performance. It's eneetlFe-
ness was obvious.
As Elizabeth Of ValOis Frances
Peralta seemed nervous at hrst and
while her voice was pleasing not
pushed. effort caused, barring some
clear, strong high notes, an erect OF
strain. Jeanne Gordon was IN very
fair voice as the Princess OF Eooli
without neglecting the action; wnlle
Leon Rothier, the grand inquisitor'
held I'D mis- end we'll in his argument
with the king. On the whole, It was
an unusually interesting perform
anee OF the Verdi opera. with the
kings scenes in the third act left IN
the opening exposition was omltted'
but this hiatus in the plot did not
bother the audience. ., cv,
'I'Orncoio" and "Psgliaeei" hlled
the evening. The drama OF Chinatown
was generally we'll done, with MI
scotti7s acting Of the villains part, as
usual. perhaps the chief feature, along
with Misa Boris singing as Ah.l oe'
and the dignity Of Mr.. Didur as WIN,
Shee. Mario Chsmlee was IN good
voice as the ill-starred San-Fuy, Win
other parts taken by Miss Telva ana
I Messrs. D'Angelo and Audislo. IN
I aPagliacci" Mr.. Danise varied the pro-
/ logue "a we'll sung ope) by appearing
I In = suallow-tail coat Anstead OF the
usual clowns costume. Elizabeth Reit-
! berg. in her second Metropolitan APP
peararce. was a very satisfactory
Media, ner voice being strong and
| smooth after having been warmed up
in the Bird Song" II did not seem
1 however. 20 be primarily q coloratura
voice. Morgan Kingston was a worthy
/ Canio. although seeming to aim al
more sound and color than the limits
Of his voice allowed, with other parts
taken by Messrs. Paltriniere and
Reschiglian. Il was Mt. PapPs busy
+ day. While Mr.. Moranzoni led
/ ~L'Oracoio, both Don Carlo" and
"Pagliaeci" were under the formers