Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-04-25
ANDREA CHEN|ER"
FILLS FOX THEATER
PonseIIe, MartineIIi and De
Luca Featured in Gior-
dano Opera.

An opera new to Washington. al
though its first production dates back
more than 80 years, "Audrea Chenier,
by Unberto Giordano, attracted another
audience that practically filled the Fox
Theater last night This second pro-
duction by the Metropolitan Grand
Opera Co. here featured Rosa PonseHe'
Giovanni Martinelli and Giuseppe de
Luca. Tullio Seraf1n was announced
to conduct this work. but because of
grippe, he was unable to get down
from New York in time. Vincenzo
Bellezza, who conducted La Boheme,"
conducted this performance, too.
Story Is Revolutionary.
The story of Andrea Chenier" is the
tale of a poet with revolutionary
tendencies, who first meets the heroine
Madeleine, at ball at her home.
delightful ninuet entertains the COM
pany, and is rudely interrupted after
the poet has inspired the servants OF
the household to revolt. The principal
servant, Gerard. is also a revolutionary
and in love with the beautiful daugh-
ter of the household. Chenier and
Madeleine manage clandestine meet
ing but are spied upon and there is a
duel between Chenier and Gerard. The
poet wins and the girl escapes, but
Gerard's hatred and thirst for revenge
is aroused. He orders Chenier thrown
into Jail. The poet and others are
brought before the tribunal and con-
demned to death. Madeleine offers
the supreme sacrifice to Gerard If he
will save Chenier. Gerard's better in
stincts are aroused and he tries to
save Chenier so that he may escape
with Madeleine. The lovers are doomed,
however, for while Gerard has fastened
rs Tn IN hinhaSf nIlthnrifl6C
to save Chenier, the latter is called
for and Madeleine brides another wom-
an to let her take her place in the
ttmbril with Chenier to go to the
scaffold.
The entire opera is very dated in its
style and artif1cialities. The music Is
not exceptional, although it is written
in musicianly manner. The revolu-
tionary motif seems to be a constantly
recurring roll of the drums and ex-
plosive strains. Many times Mr.. Bel
lezza and his orchestra dominated the
singers. The melodies never seem to
quite reach the heights one expects of
them. The most effective was the lyric
Come I'm bel di di Maggie" Martinelli
was at his best in this number. At
other times his tones showed forcing
and were not rounded.
This is not especially Ponselle's opera
and the brilliant American pr1ma donna
had few moments to show her splendid
command of smoothly sung and rounded
tones. She seemed neryously keyed up
and minus her usual poise much OF
the time.
Laurels Go to De Luca-
The laurels of the evening really
belong to Signor De Luca. He not
only is most gifted singer and operate
actor, but he has easy command of per-
feet artistry.
The chorus sang the pastoral music
of the first act very well. Also In this
act Ina Bourskaya made the most Of
her part as Countess de Coigny. Gladys
Swarthout stood out as an individual
in her portrayal Of the role Of the
mulatto maid to Madeleine. Others
who handled their roles vocally and
dramatically well were: Angelo Bada
as the spy, Henriette Wakefield as an
old woman, George Cehanovsky as
Fleville, Alto Tedesco as the able,
Pompilio Malatesta as majordomo,
Pavel Ludikar as Matthew and Milo
Picco as Roucher.
The settings we're very good and the
costumes, especially in the first act,
we're lovely.
This afternoon at 2 o'clock the COM
pany presents the final opera OF the
season here, la Traviata, by Verdi,
with Bori, Tokatyan and Tibbett listed
for the leading roles. H. F.