MR MUSGROVE’S OPERA COMPANY.

Evening Star, Issue 11658, 19 September 1901, Page 6

MR MUSGROVE’S OPERA COMPANY.

At a quarter to eight last night not half the seats were occupied, and those present began to fear that the fierce showers were going to spoil the house for ‘Carmen.’ A few minutes later, however, the ticketholders began to arrive in force, and the management, correctly divining that the causes of the delay were reasonable-one of these being that everybody wanted a cab'at the last moment and some had to wait—postponed the overture for a few minutes. Tliis was sensible and considerate. By ten minutes past eight the house was full, and everybody heard the overture in comfort. We need no£ cast about for guarded phrases in which to express onr opinion of the performance. Wagner, one of the severest of critics, is reported to have said, after Bizet’s work -was produced at the Opera Comique in the year 1875, that at last a Frenchman had composed an opera that would last. Such laudation as was bestowed upon the opera by the European critics has hitherto not been properly understood hero. The explanation is now provided. It is simply this: that up to the advent of Mr Musgrove s company we had never seen ‘Carmen.’ It is a work that cannot be done in fra. ments. It is like a picture—a piece hero and a piece there may be pretty enough in a way. but to get a full understanding of the artist’s meaning and to thoroughly appreciate his work one must be in such a position as to pet a comprehensive view as well as a detailed inspection. Who could judge a painting issued in parts? ‘ Carmen ’ is of the same order hi art. One needs to take it as a whole, otherwise the scheme is not grasped. There is no call to expound this to any who attended last night. The relation of the words to the music, (he dependence of both on the dramatic exposition, the necessity for completeness in ensemble will be fully realised by those who now know what possibilities there are in tbe opera; and to our townsfolk who have not so far seized their opportunity, and therefore may not properly understand how an opera that has only one well-known song in it can be called a great opera musically, all we can say is that if they go and witness the repetition of ‘ Carmen, if it is to be repeated, they, too, will have their eyes opened to the merits of Bizet’s composition. In the meantime we may remark that the appreciation of the English and Continental critics is fully backed up by the members of Mr Musgrove’s company, whose judgment will not be questioned. They are in love with ‘ Carmen —one can tell that by their willing manner of playing it—and we had the pleasure last night of a chat with two or three of the performers, who seriously assert that to the best of their judgment ‘ Carmen ’ is one of the great operas of the past century. It will be gathered from the above that ‘Carmen ’ was worthily put on. Such a remark will be cheerfully endorsed by‘all who had the pleasure of being present. The scenery was beautiful; costly and highly picturesque dresses were worn by the chorus as well as the principals; the properties and general stage requisites were on a most complete scale; the principals all made a point of expressing the words with clearness, thus giving the story its full moaning ;' and musically the performance was marked by conspicuous success, the orchestra playing magnificently, and the singing being in • one respect superior to anything previously heard so far during the season. The point of superiority was the excellent work done by the chorus. We gladly mention this, because it was our duty to take the chorus to task for shortcomings in ‘Trovatore’ and ‘Faust.’ Last night there was little room for complaint. The girls’ choruses were sung with unexpe tod brightness, and the full choruses came out with fine effect, particularly the chorus to tho toreador’s song, the gipsy chorus in front of the tavern, and the ‘Beware’ chorus in the smugglers’ cave. The presence of some of the principals seemed to give the chorus heart, and for the first, time this sea%n wo found tho true value of this hard-worked section of the company. As for the orchestra,, their playing was quite up to their own high standard. If there is any favored department in Bizet’s work, it is the orchestra. They have a, constant succession of opportunities. Whilst, it is not correct to say that they are relied on for the groundwork of the opera, it is perfectly true that the instrumentation is an integral part of the work and not a mere accompaniment And Herr Slapoffski’s band thoroughly understand their responsibilities. The orchestration of the opera is simply beautiful, full of lovely effects, and these were listened to with the deepest pleasure, for every man made his mark as the chance came to him. ‘lt will no doubt be interesting to give the full list of the players in this fine orchestra. Here it is : THE OPERA ORCHESTRA. Herr Slapoffski Musical Director Mr Albrecht Ist Violin Mr Blitz Ist Bass Mr Crook Drums Mr Coy 2nd Violin Mr Ccsari 2nd Horn Mr Do Groen ... ... ... Bassoon Mr Downes Ist Trombone Mr Farmer 2nd ClarioneUe Mr Gardner ... 2nd Trombone Mr Hailes ’Cello Mr Holloway ... Comet Mr Ruhr Ist Horn Mr Lyons Ist Clarioncfcto Mr Leopold Viola Mr Jeffkins On—ot Mr Paans Ist Violin (leader) Mr Randall 2nd Unto Mr Stoneham Ist Flute Mr Wiclaert Oboe Mr A. Zelman Isi Violin Mr V. Zelmau Viola Miss Barclay Harp With respect to the principals, the greatest credit is duo to Madame Janson for her artistic impersonation of Carmen. It was an impersonation in tho fullest meaning of tlie word; that is to say, Madame Janson thoroughly lost herself in the character. Her success was assured from tbe moment she began the dance song ‘ Love is a vagrant,’ and long before reaching the next air. ‘ Close by the ramparts of Seville,’ it was realised that in tbe saucy, impulsive, and mischievous tormentor Madame Janson had found a great part. We do not propose to go into detail in respect to the impersonation, since to do so would be merely to string together a succession of notes of admiration. All that need bo said is that Madame Janson’s Carmen is so near perfection that we do not ask for anything better. .Signor Salvi, cast as Don Jose, now and then had a job to keep in tune, but every time he seemed to he faltering ha made a quick recovery, and his singing was on the whole very satisfactory. He made a decided hit in the air ‘This flower, whose freshness now has perished.’ Moreover, he acted very well indeed, his quiet suitimr the part. Herr Max Eugene made a typical toreador, and gained an encore for his delivery of the principal song in the part, but we think his acting was quite as good as his singing, and that is saying a great deal. Miss Lilian Coomhcr was a charming Micaola, and support of a valuable character was given by Miss Crichton, Miss Boanas, and Messrs Gilbert King, C. Lemnane, L.‘ Mooney, E. Gollmiek, and C. Francisco, all taking tbe greatest interest in their duties and getting through without the least sign of a hitch ‘ Lohengrin ’ is ‘ the opera for to-night. ‘ Tannhauser ’ will be performed for the first time on Wednesday, the 25th.