Evening star., 1935-02-07

The leading characters of "Caval-'
leria" in particular were well taken,
even to the part of Mamma Lucia,
which ordinarily is the weakest in
the cast. Alice Haesler, in this small
role, sang with the same good vocal
production which made her part of the
Priestess in Aida" one of the best in
the opening performance and put
appropriate acting into her portrayal.
Emilia Vergeri, as Santuzza, attained
impressive dramatic effects aided,
strangely enough, rather than ham,
pered, by an uneven voice color. Her
Interpretation was emotionally well
developed, bringing out the real drama
Of her story.
The role of Turiddu was taken by
Rolf Gerard who substituted for Luigi
Ruffino. Mr.. Gerald made a decided
impression at the recent performance
of La Traviata' by the Cosmopoli-
tan Opera Co. at Constitution Hall,
when he again was called on at the
last moment to replace the tenor, who
was too Ill to appear. He is a splen-
did artist, combining a fine voice,
good stage presence and histrionic abil-
ity. Although better suited to the
part of Alfredo in La Traviata' by
reason of his vocal quality, he never
theleSs gave convincing portrayal
of the Sicilian village beau.
Bernice Schalker made the impor-
tant but short role of Lola one Of the
best in the opera. and Eugenio Pros
peroni. as her husband, Alto, followed
+rodifip,1ol jY1ta OF
AS the clown in the second opera.
"Pagliacci," Rocco Pandiscio disclosed
truly magnificent voice in the ia
mus prologue. quite adequate to fill
the largest hall. Fortunate De Angels
as Canio did his best singing in the
''Ridi, Paglaccio," aria and worked
up to a dramatic climax in his acting
The soprano role of Media, sung by
Verne Aldman, suffered from the ner-
vousneSs and ineXperience of the
singer, whose voice might have been
more effective had she been Surer of
her music. Eugenio Prosperoni as her
lover, Silvio, and Constante Sorvino as
Beppe completed the cast. Gabrielle
Simeoni conducted both operas and
was brought before the curtain to
share the applause of small but
highly enthusiastic audience.
EGON PETRI, Dutch pianist, who
- was recently heard here in re-
cital. gave the first of series of lee
lures last evening at the Washington
Club. Mr.. Petri, who will shortly be-
gin a master course in piano playing
arranged for by Nine. Coutinho. was
introduced to the audience by Dr..
Kurt Hetzel.
Mr. Petri talked informally. but
with a clearly planned outline. il
lustrating his points at the piano.
He devoted the first of this series of
lectures to an explanation of the in
strument itself and the apparatus used
in playing. He explained that seek
ing after beauty was not enough in
piano playing, but knowledge must
be gained of how to arrive at gradu-
alton of control and effect. StreSsing
the importance of an understanding
OF the apparatus, Mr.. Petri demon
stated the difference of touch and the
play of arm and wrist muscles, re-
peating often that the mastery Of the
piano is knowledge of movement.
Many of the points touched on yes
terday will be developed in future
lectures, which will progressively cover
every angle of the pianist art. The
place of the next lecture on Wednes-
day will be announced shortly.