Evening star., 1923-02-06
Chicago Opera Company Scores
Unusual Triumph in "Aida''
Ancient Story Filled With Glories of Old
Egypt Giuen Performance Worthy
of Original Inspiration.

The audience at Polls Theater last
night had the experience OF wonder
full discovery-the discovery of a
great and beautiful opera. The an
nouncement that aida" would be the
first OF the Chicago opera series
sounded perfunctory and familiar,
Every opera company opens the sea-
son with "Aida:!' at serves to ex-
plot the compnay," explains the
manager. But aida" has more to
display than facilities for singing
competence. The performance of last
night revealed 1t as a dramatic poem
with appeal 10 the ear and the eye
such as only the most opulent re-
sources in artistic mood could con-
vincingly express.
1t was Il performance worthy of the
original inspirations: Il world event;
the opening of the Suez canal. Each
auditor felt that he was himself for
the moment a khedive. for whose
delectation the ancient splendors Of
Egypt had been revived
First n Dramatic Poem.
Aida" has been attempted many
times. Its artistry has always been
incomplete until now, excepting per-
oienccs have not bad opportunity to
witness. Its original presentations,
hrst in Cairo. tacn in Milan. were re-
spl"ndcnt demonstrations. Since that
day it's presentations have been but
dim reflections; until this time of our
own has called upon the world to cN-
press the best that IL contains.
II was first as a dramatic poem
that Aida found existence, the theme
suggested by the Khedive, transla- :
INT 40 of
Verdi, who bestowed upon it without
stint the opulance OF his melodic
genius. The libretto is by Antonio
ihislonZ"ni. name which whispers
the corridors of time. Yet it is d
beautiful lihretto, whose dramatic
moments are well timed and whose
charaCterizations arc sincere and Iro-
portionate.
Deeper Meaning often Lost
The theme is as old as Homer; the
claim of the warrior upon the cap
tive maiden. The development OF
this theme is III accord with the
present ami the eternal future bring
ing into dramatic play, love. jealousy
and revenge. The revenge proves
more cruel To it's perpetrator than
TO It's victim. which cveutuality con-
Stitutes the poignant. unheeded lesson
of all history. Strange It is that
previous presentations of Aida have
not set up trains OF more or less
serious thought. They have been in
themselves superficial. insinCcre; dis
Tegardful of. the work that had been
done; seeking only to make reputa-
ton source OF present advantage.
The Chicago Opera Company goes
back TO basic principles. defies fad
NlStic impetus and opposes to the
silly profiSacy of the ragtime revue
u vehicle for The expression of genu-
Inc merit. -
The impression that remains iy one
OF broad and magnificent effects The
sense of proportion is dominant in
spite OF the admiring appreciation of
eXquisit" detail. Individual effort.
splendid as it may be. Is invaria blv
contributory to, the effect of har-
moniouS completion.
Marshall Scores as Rhadames.
The role Of Rbadames has been sung
many times Marshall gave it a dy-
manic significance such as is but sell
dom felt. His attack is accurate and
spontaneous: his tone quality pure,
delicate. and yet robust when the
movement demands. and his sense of
interval IS correct always to the mill
Nonith fraction. With all his techni-
cal security he preserves q sweetness
and sympathy Of voice which add the
charm OF personality to that of mu-
steamship. He Knows how to attain
u climax without appearing TO reach
for it, and lfow--to sustain a duet with
out seeming ambitions to make it q
solo.
The title role was sung by Rosa