Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-02-04

TlHE power of nationalism in the in
L depreciation of music was given
striking exempiification in Philadelphia
recently when Feodor Chaliapin sang
(or perhaps It might be better to say
acted) the title role in Moussorysky's
opera "Boris Godounoff.'
1t Is exceedingly doubtful IL a per.
son Of another nationality, even granted
that his vocal and dramatic endowments
were the equal of those Of Mr.. Chali-
apin, could have performed this work
in the same effective manner. There
is something about the role which de.
mands that the person performing II
be not only Russian in blood, but In
thought; in fact, II he be Russian In
thought the blood will not make any
special difference except that the two
things are ordinarily corollary.
In the first place, the opera. itself is
more thoroughly Russian than any
other work for the stage with which
Is familiar. Tschaikowsky's "Eugen
Onegin" might be laid in any northern
country Of continental Europe; Boris
Godounoff' could be laid only in Rus
sia not alone in plot, but more espe-
cially in atmosphere. AS was noted In
the EVENING PUBLIC LEDGER at the
time, the drama, for it is not essentially
an opera, is series of pictures OF
typical R~ssian life to which the plot
as such is entirely secondary. In this
respect 1t is strikingfy like Charpen
tiers "Louise,' which, in the same
manner, portrays Partisan life in some
essential phases, some scenes, 9S ir
Boris having little to do with the
actual plot Of the opera.
ITO PORTRAY leading character il
L work like this requires more thar
vocal and dramatic ability; it requires
thorough understanding Of the ma
tional characters depicted. and this i.
thing which can come only to a persor
born to that atmosphere. The spectator
feels that Mr.. Chaliapin would give ,
remarkable dramatic Interpretation t,
any role which he might essay, but a
the same time the feeling is ever presen
that Boris is his greatest part. Thi
is not only because of the remarkable
acting of the highly emotional secon,
act, but because he has in him tha
necessary element Of thorough under
standing of his own people. somethin,
which Is given as Il birthright and cal
never be acquired.
Another instance going to bear ou
this theory is that the greatest part o
the late Enrico Caruso was ,Canio i
II Pagliacci. II must be- rrmembere
in this connection that this role di
not allow the widest opportunity for tn
great tenor vOcally. nor did it espe
cally suit his natural dramatic pro
cliv1ties. which were rather towar
humor than tragedy. But he was Ital
ian. he understood the three perso
travelling group peculiar to Southwest
ern Europe and the emotions whic
Canio feels in the opera he understood
and hence enacted convineingly in ever
detail.
ITO CITE still another opcratic IN
L stance. it is necessary only to reca
the marvellous portrayal of The Fathe
and the Mother in Louise by NJ
Rothicr and Miss Berat. II no dis
paragemcnt of their remarkable drn
matte abilities to say that in the.
: roles both appear TO the best advan
tage Of any which they have essayed
! this city. and it is only fair to ad
: that their dclineatiOns OF the par
r have never been cqualed by any oth'
D operatic stars who have attempted the
5 here.
t 4 large part of this is due TO the
: nationality and that. as result. thu
l.. understand Thoroughly the charactr