The Washington times., 1926-02-22

states speaks the whole nation
stands by To listen-as they VIII
have opportunity to do over the
WEAF chain, including WCAR.
We Go to the Opera
1 That Mascagni was born and
grew r1p-that he composed music
/ for church and secular use-that ne
won q prize with his opera, Cava.
leria Rusticana"-that he evolved
the opus from story that na0
itself been made into q particularly
vivid nelodrama for the stage
and that he has never done any
thing better-an of this is incloensai
to the fact that the opera - 70 De
the basis Of WEAF's weekly per-
formance this evening. All Of It -
more or less interesting, but has
little or nothing to do with the
musical ideas the opera may have
for the audience that is to hear y.
1t has q real idea expressed III
music that is terribly alivethat -
the only way to describe II.
nc tells OF q village shotk VINO
fOrsOOk q most trusting Sheba Tor
4 married yamp, whose husband
was + rather Grass person VINO
hompI1f cattle for living, AND
had hts own ideas about the local
drug store cowboys. The yAamp naQ
hean The shielx's sWeetie and had
married while he was away dong
his military duty. Sheb8 calls
the sheik's attention TO the fact
tIlat coming events make some
fhiT1g more than an apology due
from him. He tells her to beat +:
She does-tO the cattle dealer ana
n. ~
comes back and the curtain faAle
with the audience understanding
tI1af the sheilRs friends win re.
move his body from where Il lays
baclxstage when the coroner ha8
given permission!
There are quite q lot Of librettos
that tell the same story with reason
able variation. But the outstanding
fact about ssCavaleria" Is that Mas
cagni made the music tell this story
az well as the lihretto. And some
Of it win live forever in its eie-
mental humanity. Listen tonight
as the sheik exhibits his whole
cheap character In his serenade to
the yamp before the rise OF the
curtain--that is, after you've lis
tened to the very beautiful over
ture that summarizes the Wnole
work, musically. Then listen as
sheba and sIieik have their little
disagreement as to his RESPONSE
biIfty. And to the cattle dealers
boastfuI celebration of himself IN
son that tests a baritone's VOCAL
equipment to the limit.
Easter Hymn Great
BUT. particularly, hear with wide
omen understanding the gorgeous.
colorfuI. reverential Easter hymn.
Just why this hymn isn't as great
and well known q church easter
program number as any OF the
standbys that are nabituaily used. y
far beyond the simple understand: !:
inr of this writer. The "Cavalerie
nlsn,Ter is not only gorgeous in its
| splashings of musical color, but IT
| is most misunderstanding that
choir can easily accomplish its
windings through the mazes OF mar
| mony.
intermezzo-W is TO the opera
| lust what its name states-an IN
| terlude-a, space between two parts.
And SO far as any particular reia-
| ton to the story-both music and
libretto-it might just as well have
been placed between the acts OF
any opera telling the same story.
| The intermezzo has lived through
the sheer merit of its exquisite quail
| ity-try as amateurs have to muir.
der it both with piano and orchestra.
And it is one Of the things that
win always live.
The solo and choral numbers
that have been referred TO are
parts Of q whOIe-and most Of
them cannot be sung separately
with very much more effect than
tearing q page out Of the middle
Of an epic poem would Do
effective as reading material.
There are other solo and choral
numbers that register with the
story as it unfolds musicalIY.
If you are inclined. wonder K
some of you would write and tell
me If you found the things IN
the music I've suggested you
might find? I'm really interested
about knOwing-and would deeply
apDreciato &c.