Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-04-17
METR OPOLITAN CROWNS SEASON
WITH TAYLOR,S PETER IBBETSON'
American Composer Wins Ac-
claim as He Appears on
Stage.
Capital Society Fills Fox
'Theater to Capacity for
Final Performance.

Strong men wept last night and
their heads while, as a climax to three
days of opera, Deems Taylor's musical
version of the famous dream phantasy
by Du Maurier. Peter Ibbetson," was
presented before a crowded house at
the Fox Theater.
Hundreds had been turned away
earlier in the day. Interest in this most
recent Of American operas ran higher
than for any such event in local history.
And, to make the occasion all the more
memorable, the composer himself ap-
peared on the stage and was greeted
cordially by the audience.
Composers Wife Sits in Aisle.
The appearance Of Mr.. Taylor (whose
wife Is said to have had to sit on
campstool in the aisle on account of the
immense crowds, with Lucrezia Bori,
Edward johnson and Lawrence Tibet,
was the signal for great enthusiasm on
the part OF the audience, and since
there was no other opportunity In the
closely interviewer sequences of the story
to indicate approval by applause during
the remainder Of the opera, this was
the one time in which tribute was paid
TO the man who has written the most
successful novelty" sponsored In the
last 10 years by the Metropolitan.
Nine. Bori as the Duchess of Towers,
Edward johnson as Peter and Lawrence
Tibbett as the colonel revived the roles
In which they appeared originally. All
three OF them, while not allowed to soar
TO any OF the vocal heights to which
they are accustomed, seemed especially
successful in their portrayals, Mr.. John
son imparting youthfulness to his role
that was perfect. Although Nine Bori
Is far removed from the type outlined
by Du Maurier, she lends that peculiar
grace and charm to the part which,
were 1t dramatic instead of operate.
would live in its own right.
Debate on Substance Revived.
There is little question, however, but
that Peter Ibbetson" is the most de-
batable OF operas. Since its birth, argu-
ments pro and con have roared around
1t with undated fury. And last night
while its admirers sat speeches. and
tear-stained, its less friendly reviewers
sat gloomily looking at their watches
and wishing they were elsewhere This
latter attitude, 1t seems, it due to the
music'S lack Of backbone-or rather to
lack OF substance which the listener
may take home with him and hum in
his morning bath. There are, further
more, no long arias, no sustained rant
tngs and roarings. which leaves some
operagoers feeling they have been cheat
ed. The music is not divisible. It's course is
unbroken. 1t flows along on an ethereal
course and does not pause for the char
acters to speak their lines in prolonged
vocal gyrations
Whether future generations will APP
prove OF this technique is a question
But those who listen deeply can be
strangely stirred by the lyric stretches,
of the music which do not, after the
fashion of some operas, assault the ear.
Intact, a second hearing endears one
TO 1t immeasurably more.
Performance Meets Difficulties.
There were troubles last night in its
rendition that had not been apparent
before. Mr.. Serafin, who handled the
orchestra with such amazing deftness
at the opening performance at the
Metropolitan Opera House, seemed over
fond of prolonging the crescendoS, with
the result that listeners in the balcony
said that all they heard was the
orchestra. And those nearer the front
OF the house, could not help but over
hear the whisper" Of the profnpter as
he helped the principal singers over
some Of the hurdles, which in a few
instances threatened to become q kind
of call and echo.
Scenically, however. the Metropolitan
was at its best. The acting was hawless,
too, even to the very smallest of the
dramatic characters in the dream
sequences. And those who are fond of
their Du Maurier, and their tears, and
music, which, without reaching the most
brilliant climaxes leaves one neverthe-