Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-12-13
GRAND OPERA WINS
LARGE AUDIENCE
President and Mrs. Coolidge
Among Those AppIauding
American Co. Offering.

President and Mrs. Coolidge led an
audience that filed Polls Thea
| ter in giving rousing applause to
the efforts of the American Opera
Company in their first production of
grand opera in Washington last night.
The national aspect of this endeavor
was underlined at the very beginning
by the fiag-draped box of the Presi-
dent and the playing Of THE Star
Spangled Banner Immediately follow
ing the entrance of the presidential
party. All circles of society were we'll
represented.
This company certainly gives grand
opera with a difference. This differ
ence is Sensed the minute one opens
the program, for Faust" the Gounod
opus, which was the opening produc-
ton. was listed as "a lyric drama in
four acts" instead of in the old fash
ion. "a grand opera in five acts
Settings Beautifully Designed.
The settings were beautifully de-
'signed along very modern yet con-
wise were rich and colorful with all
the ingenuity shown that the designer
for a successful musical comedy pro-
duction would put into costumes for a
big show" The acting and dispers-
ing of chorus and principals in nat
ural groupings or postures made the
auditor feel that he might be view
ing a successor to THE Vagabond
King" or THE Student Prince" in
stead of good old sturdy grand opera
"Faust." Never did this, frequently
one of the dullest of grand opera pro-
auctions. assume so sprightly an air
before in this community.
There were many innovations not
only in the describing of the musty
garh and prosaic, archaic scenery
that is traditional with Faust" but
also in the actual casting of roles.
Two Separate Fausts.
There were really two separate |
Fausts. the one, the old philosopher |
with the very high. light voice; the
other the rejuvenated Faust with
robut ringing tenor tones. Mephis- |
tophocles. not so styled, but assuming
varied and human garb ranging in
characterization from that of a cava-
lier to cardinal of the church. was |
more truly his satanic majesty with |
the great tempting powers possible |
only in these varied roles. Also, |
Siebel, the youthful admirer of |
Marguerite. who additionally has |
been sung by a contralto land not |
always very young one at that was
sung and acted excellently last night |
by a young tenor.
There were. of course, those in the |
audience who resented some of these |
innovations, particularly the eIimina.
ton of the vision of Marguerite that |
is customary in the first act. This |
scene is. of course, supposed to be |
the clinching argument that the Devil |
holds over Faust so as to sway him |
into his power. 1t did seem as though |
this scene should have been managed,
as there were no liberties taken with |
the score, 1t being read in the usual |
fashion with an admirable though |
small orchestra under the direction of |
Frank st. Leger.
Artistry Special Feature.
Generally. Mr.. st. Leger held his
down very we'll in.
deed. Always there was nice smooth.
ness that showed much practice
together in reading and preparing the
score. This was no laSt-minute, half |
rehearsed, operate performance. 1t
was obvious as the evening progressed
that each detail of setting, acting,
gesture, properties and musical pro-
duction had been worked out thor
oughly and with careful artistry. The
result was inspiring.
AS for the singers there was no
Rosa Ponselle: no Gigli; no Michael
Bohnen, or, to revert to the past, no
Emma EameS, Caruso or Edouard de |
ResZke. But there were young
people, essentially gifted and trained
actors. with lovely voices that are OBJ
vlously being built in the way in
which they should go. This is not
grand opera with a few moments of
individual splendor as each of the
principals takes his turn directly
down stage center and sings his or
her big aria, while long, arid stretches
these moments in gaudy unreal set
tings, not to mention a huge, un-
wieldy chorus that is all arms and
legs. Such grand opera has always
had as loyal following a few people
who really loved music for music's
sake, or artistry for the sake of the
given arias by a few
select singers, or the larger, more gilt
tering group who attend opera be-
caus of it's social valuc5.
Real Dramatic Power Shown.
Instead, this was a production that
has first appeal to the eye with the
freshness, real dramatic
power that these young Americans
put across the footlights Secondly,
the young voices sing with rare case
OF tremulo. The vocal part fits into
the picture and there were a few last
night who gave real thrills with their
singing as well as their acting. Mar.
guerite's singing of the frenzied, plead
ing music that she is allotted in the
famous trio of the last act, was a vo-
cal as well as dramatic triumph It
was superb. She also sang the ia
nous cavatina and jewel song excel
lently. Natalie Hall was the Mar
guerite of the evening.
Supreme dramatic honors, however,
go to George Fleming Houston for an
excellent, extremely original devil. AS
Mephistopheles he gave real meaning
to every word and every gesture.
I Patrick Killkelly. with the flutelike
quality that is doubtless due to his
Irish ancestry. was admirable in his
few moments as DR.. Faust, the
romantic, dashing Faust, who wooed
the charming Marguerite so convinc.
ingly. was equally good. with a more
robust voice. The Might of Love"
duet in the second act was beautifully
done. Raymund Koch was a convinc-
ing Valentine: Edison Rice was the
Siebel and Browne PEBBLES was the
Martha. John Uppman made the
most of his part as Wagner. a stu
dent.
American Style Opera.
The clear diction, refreshingly in !
English, that did not seem gauche;
the appeal of the easy, we'll directed
action of principals and chorus, and,
above all. the really musicianly way
in which the singers presented their
best efforts without straining physical |
contortions or peculiarities of vocal
production. should do much to make
the grand operas presented by this
American Onera Co. nonular all over