The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1925-03-04
PRESIDENT | s
AMONG OPERA
AUDIENCE
Splendid Rendition of aida, y
With John Charles Thomas,
Attracts Music Lovers
BY JESSIE MCBRIDE.


The President and Mrs. Coolidge.
even on the eve Of the Inaugural
tion," paid tribute to the Washing
ton Opera Company's splendid pro-
drction of verdi's aida" by their
attendance in the Presidential box
for at least an hour last evening
when this 'All American" cast drew
enthusiastic response, with even
''bravos" at times, from an audi
ence that almost entirely filled the
huge Washington Auditorium.
There were several high-water
marks In this significant American
event that built up into thrilling
moments, improving as the opera
progressed from unequal spots to
truly fine ensembles from principals,
chorus, and orchestra. AS many
a. six curtain calls followed several
scenes. Washington was alive and
arpreciative far beyond her usual
mood.
John Charles Thomas, in his first
grand opera appearance singing the
dramatic role of Amonasro, leaps to
iii st ranks as MISREPRESENTATION, with
Q voice that transcends any rendi-
ton OF the role that Washington
has heard. Comparison naturally
comes with Joseph Schwarz, the
Chicago Opera baritone. Thomas Is
as arresting figure; in voice he
captures first honors, which is much
t. say.
1t means that out of America has
again come an artist to challenge
fY.af IN ha nd of h
world. as have a few artists Of the
past, Emma Eames, Geraldine Far
rar at her best. Commanding in
every recitative, the true Italian
melody of this score was golden IN
Thomas singing, rising to a triumph
time after time. Amazing also was
his dramatic picture, the matinee
IDOL lost in a superb characterize
ton that will always be a marked
event wherever he may sing.
Youthful Tenor Pleases.
The new and youthful tenor
totally unknown; brought Hunter
Kimball many honors as Radames.
Our own Charles Trowbridge Tit
mann, as the High Priest, has grown
in operatic stature to commanding
heights.
Jeanne Gordon, mezzo soprano of
rich depth Of voice, received an ova-
ton after her big scene just before
the finale, when her Amneris dis
closed wealth of voice and fine
dramatic values that before had been
overshadowed by self-consciousness
and muf1ed tone. Jeanne Gordon,
If she could lose herself and become
the Princess here, might have few
peers, but in dramaticS she is stacy,
lacking spontaneity in her interpre-
tation.
The aida" Of Frances Peralta was
very effective in many concerted
parts. She missed the fineneSs OF
voice in her two great arias, Return
Victorious" and my Country" nor
was she the slave girl, but herself n
princess in royal raiment, at the
court of a rival monarch.
Hunter Kimball is truly a "find"
for whom (Edouard Albion, general
director of the Washington Opera,
may claim full praise. His is a
rarely beautiful voice. It, without
exaggeration, may be compared in
tinbre to Thomas, for melodic
beauty, for dignity in recitative, in
short, for a fine dramatic delin-
cation as actor as well as singer,
which is the great need in the
world Of the opera.
Kimball's voice does not reach
the heights. OF tenor rObusto
caliber, his top voice is lost in his
throat. It is evidently there, for
he sings with no strain, but it has
not come through. Victory, just
the same! For though he has sung
in Europe, this is his grand opera
debut in his native land that may
prophesy a brilliant future.
The home singers of the Wash
ington Opera are really overzealOus
In ranking Ttttmann with them, for
he is an artist Of national reputa-
must stress the fine fervor and
beauty of his voice and the artistic
freedom that his opera appearances
have added to- his work.
Albert She6erman was scarcely
adequate as the King, his voice
proving still too immature to
sustain a role, that demands state
" heroic quality. Lawrence Lee.
tenor, as a messenger, gave an ef-
Hective bit in excellent voice.
Chorus Is Splendid.
The great climax Of the full
chorus, in the return Of the victor,
was splendidly given, the groups
alive and mobile in their limited
space. But there was the amateur
in the ballet that had much better
have been omitted. The male
chorus stands out significantly.
also, though bigger masses are de-
sirable for the temple scene. The
Women's chorus in the scene where
Amneris' maidens robe her. for the
court, was also more Of the amateur
than the Washington Opera has
usually given. These, however, are
almost bubbles, when one considers
that this has grown out Of a COM
performance with almost no
acquaintance with the principals.
AS a scenic production it was
most beautiful. Most of the stage
pictures were set against simmer
ing silken curtains.
The Washington Opera Company
has won it's spurs. 1t is an insti-
tuition that stands for much, not
alone in this community, but in op-
portunity for American artists. We
must not eXalt the American at
the expense OF art. But where
they rise to such heights, notably in
the case of Thomas, of the lad Hun
ter Kimball of our own Cha les
Tittmann, We have the right and
the pride to say America has ar
rived.
To Edouard Albion for his persist
lii IL