Evening star. [volume] (Washington, D.C.) 1854-1972, 1933-04-24
Cimarosa's Opera Opens
Chamber Music Festival
Colorful Melodies Presented by Juilliard School.
for Second Time in America. at the Library Of
Congress Last Mig hit soletto" at Belasco.
By Alice Eversman,

THE festival Of chamber music
was inag,rated last night at the
Library Of Congress by the pres
entation of Cimarosa's opera
buffa, 1.-THE Secret Marriage"
The opera was produced by the JUL
lizard School Of Music and is the second
hearing in America. Immediately fol-
lowing what might be called its pre-
miere (the first performance was IN
1880 at the Library, the Juilliard Opera
School will give four additional per-
formances Of the Cimarosa work at the
Juilliard Auditorium in New York
City.
n Matrimonial segreto" Is the best
known and most successful OF the 66
operas which CimaroSa wrote In his
lifetime. It was first given in Vienna.
where he had been called to act as
court capellmaster, and the story Is told
that the Emperor Leopold II was so
charmed by it that he commanded an
immediate repetition of 1t after having
served supper to the artists. After
Cimarosas return to his native Naples,
THE Secret Marriage" was performed
In that city 81 times in succession and
its success won him the appointment Of
director Of music to the King.
The performance last evening proved
that the beautiful melodies and real
humor were not too old fashioned to
be enjoyed by a modern audience. At
the same time the fow Of harmony and
fertility Of invention which the master
Of Italian opera buffa had at his COM
mand amazed ears accustomed to the
ponderous and barren musical inven-
tons Of the present day. 5pontaneity
and freshness seemed to guide his pen
with no awkward moments to cast a
individual arias followed the accepted
manner Of writing for true bel canto
and employed the usual bravura effects
so popular in giving singers opportuni-
ties to display their training. It was
the ensembles, however, which were
high lights of the evening. Excellently
balanced with each voice given prom
tnence, they were masterpieces of con-
trapuntal invention with q richness
emanating from them that showed how
inexhaustible and plentiful were Gina
rosa's ideas.
These periods Of fullness in the vocal
score had counterpart in the orchestra,
which here and there had some unusual
and delightful touches There is a COM
pleteness of form and unity of de-
velopment between orchestral accom-
paniment and vocal score that even to-
day. with the advanced theories which
have been evolved, could well be emu
lated.
It was also interesting to hear a care
full and logical translation of an Italian
text into English. The much-mahgned
English language proved an excellent
medium for the opera story, although
there remained q feeling that to make
it absolutely effective the English IL
bretto and the music should be decided
upon at the same time. The Gilbert and
Sullivan twange could not entirely be
escaped or certain bombastisy avoided,
while complete union of musical and
vocal accent could not be satisfactorily
accomplished in the translation. How
ever the proof was there, once again,
that more pleasure can be had by an
audience in listening to an opera in its
own language and that English Is as ad-
Unstable as any other language to that
end.
The unusually fine diction Of the sing
ers helped greatly. Seldom does one
hear on concert or operate stage such
distinct enunciation with proper value
given each vowel and consonant. In
every respect the cast could not have
been better chosen. The voices were ex-
cellent. with an individual color that
was particularly well suited to the roles.
The story was the old tale of the tan
gled web" that the practice Of deceit"
invariably creates. Josephine Antoine as
Caroline and Ruthe Huddle as Eliazetta,
with voices Of the same timbre, sang
with finished artistry and an ease that
was JOY to hear. Marion Selee as FL
dalma gave a notable vocal and dra-
matte Interpretation Of the sentimental
spinster, while Roderic Cross, as her
irascible brother with two Temperament
tai daughters to place in wedlock, sang
and acted with spirit. Julius Huehn as
Count Robinson, In search Of rich
bride. and Charles Haywood, the Paolino,
whose secret marriage to Caroline caused
all the trouble, gave individuality to
opera was beautifully staged by Alfredo
Valenti, while Albert Stoessel. who was
welcomed with prolonged applause. was
responsible for the musical perfection
Of both orchestra and singers.
cd IGOLETTO' was given last eve
AZ ming in the Belasco Theater by
the Chicago Opera Co., Inc, A. Sal
maggi, director. The performance was
one Of much worth in acting and stag
ing with a number Of beautiful voices.
The audience. of good size for Sunday
evening opera in Washington, was en-
thusiastic and had the conductor. G.
Simeoni, permitted there might have
been a number of encores. The vari-
GUS scenes were given without hesita-
ton and there were no long waits be-
tween the acts. Mr.. Simeoni acquitted
himself as conductor with much credit,
his only fault being too loud orchestral
accompaniment, a mistake made by
the majority of opera conductors.
Joseph Roger in the role of Rigo-
letto the court lester. has sung the