Evening star., 1930-12-11
Jazz GRAND OPERA
: CAPTURES CHICAGO
Mary Garden as Marguerite
IN "CamiIIe" Answers
20 Curtain Calls.
II the Associated Press.

~ the Associated Press.
CHICAGO, December 11.-Grand
opera trimmed with Jazz made its ap-
pearance In Chicago last night with the
world premier of Camille The Chi
cago Civic Opera was the scene of this
unusual spectacle. The audience gave
approval in a warm but somewhat re-
served manner.
It was an old story dressed up in
modern clothes and manners, adapted
from the novel and play by Alexandra
Dumas Fills and set to music by Ham
ilton Forrest 28-year-old Chicagoan
and former Office boy, who said he
hoped it would be the forerunner Of a
series of truly American operas.
The "jazz opera" sung in French
lived up to the promises of its pro-
ducers. 1t was modern in every re-
spect, from the slang of some of its
lines to the telephone on Marguerite'S
table. 1t presented flaming youth"
in a manner usually associated. with
Hollywood. Its music at times was of
the variety that called for, and got, an
accompaniment of finger swapping.
Twenty Curtain Calls.
Mary Garden, making her first ap-
pearance of the season as Marguerite,
"the lady of the camelias" responded
the second act. when she led the shy
young composer on the stage to re-
ceive a tribute as the first Chicagoan
to write an opera acted by the Chicago
Civic Co.
The newspaper critics took much
the same attitude Glenn billiard
Gum of the Herald and Examiner
called attention to the ovation" for
Forrest and added that whatever the
opinion of the musician, Mr.
Forrest Is not to be denied this mo-
ment of triumph
MY impressions of the music are
chaotic. There was so much noise on
the stage that I frequently was unable
to hear the orchestra and so much or
chestral fullness that the singers could
not surmount the instrumental FORE
ground.
'It is. indeed not grand opera in
the good old style. There are no arias
There is not sustained moment Of
lyric expression in the entire work"
Mary Garden Triumph
OF Miss Garden. Gum wrote that
she had added another famous courte-
san to the long list Of frail ladies she
has created for the lyric stage"
Edward Moore Of the Tribune wrote:
''It may be-one always hopes it of
new piece, particularly of new Ameri-
can piece-that 'Mamille will classify
as one of the successes of the 1880
operate season. If this should be so. it
will be due more than anv one element
to that amazing person. Mary Garden
"She even overcame the effect of as
comic coiffure as has been seen in
many seasons. Just at present I am
quite unable to state whether it was
good opera or good drama"
The modernistic note, which drew
murmurs from an audience accustomed
to seeing the sembre, staid works Of
the older composers. reached its height
In the second act with a cocktail party
in the apartments of the courtesan,
Marguerite. Lifted to a table, she sings
modern. ryhtmic melody to the de-
light of her swaying, finger-snapping
admirerse
Although the production was up-to-
date in every way, 1t followed very
closely the original play. It's locale is
Paris. Charles Hackett had the role of
Armand, Marguerite's lover, while the
other principal parts were taken as
follows: Prudence, Maria Claessens;
Satnt-Gaudens. Barre Hill; Julie. Coe
Glade: NJ. Duyal. Chase Baromeo:
Count Giray, Antonio Nicolich.