The independent-reporter. [volume] (Skowhegan, Me.) 1909-1955, 1923-02-15
The Impressarlo Tomorrow Night

"The Impressario.' the comic opera
which has been made out of Mozart's
music and a text remodeled-consid-
erably freshly written on the foun-
dation of an old play, was given at
the Eastern Theatre last night. 1t
proved itself deserving of the many
good things said for 1t; it is real COM
ic opera, appealing by intelligent hu-
NOR and, of course. by the charm of
Mozart music. Mozart wrote only
four numbers specifically for the orr
ginal play; the rest of the score was
assembled from other music of his,
and the choice made was excellent.
But preliminary announcements of
this amusing little operatta have hard
ly given his due to the maker of the
book. Here is an English text that
is singable, brightly written and that
furnishes an excellent medium for
real musical exploitation of humor.
Henry Krehbiel. the veteran critic of
the New York Tribune, did this work
and did 1t we'll; it is an example of
what we need to make opera in Eng
lsh a musical possibility. A good
measure of the appeal made so strong
ly to last nights audience came from
the quality of the text. Mr.. Krehbiel
has expert knowledge of the vicissi-
tudes encountered by impressarios,
which have not changed. any more
than have the temperamental quail
ties of prima donnas; and he plainly
found It a congenial task to provide
the incidental text wanted
There is a present-day appropriate.
ness, too, In much of Mr. Krehbiels
text, particularly to that which he
gives to Emanuel Schickeneder, the
impressario. 1t may be well to pay
tribute here to the genuine worth of
the performances given this role by
Percy Hemus. He is a real come
dian, comedian who can play come
DIV Of manners His speaking of his
lines is well done; he makes his
points, but never loses the right poise
and his action is equally intelligent.
He carries his humor into song as
singing comedian who essays Mo-
Fart, should And the text is ingen-
iousy contrived to fit the music chos-
ell for this role. 1t is generally made
serious business by singers this
singing OF Mozart's celebrations but
last night, by Mr. Hemus. by Lottice
Howell and by Hazel Huntington this
music was sung with a light humor
and charming taste, and it was really
sung.
In Lottice Howell this cast has an
asset second only to Mr.. Hemus. She
has light voice but it Is excellently
resonated and it carries the text. She
sings WE'LL proof of 1t Is in her sue
cess with some of Mozart's trying
music. Her performance is good in
all particulars, graceful and dainty.
Hazel Hunting too has less of vocal
burden, but her ensemble singing add
ed greatly to the performance and
her handling of music and action in
the singing contest between the rival
prima donnas was excellent. Francis
TYLER as the lover-nephew and Thorn
as McGranahan as Mozart are less
expert singers, perhaps. than their
fellows in the cast. Mr. Tyler sang
well his part in the opening scene
| with Miss Howell and did tine ensem-
BILE work effectively. Mr.. McGrana-
| hans performance of the Mozart role
was excellent and except for his first
solo number, he sang well. 1t seem
| ed that there was less success in
| fitting the text pathetically to
| this first tenor song than to the rest
| of the singing numbers. The little
tenor episode sung in the scene with
Miss Howell was very well sung by
Mr. McGranahan.
The trial of voices Is both the come
DIV and the vocal climax of the operet-
Ia and it is sure to appeal to must
rnl nndinncn 81 ron PlY