San Francisco dramatic review (1899)

THE SAN FRANCISCO DRAMATIC REVIEW September 16th, 1899 AT THE * ♦ «t» ' bOCAb THEATERS Tivoli Opera House Lohengrin is undoubtedly a trying opera on singers and orchestra. With its double choruses and heavy orchestration it taxes the strongest organizations who have ample time in which to master its intricacies. Despite these difficulties, the rendition by the Tivoli Company this week has been most acceptable. This is especially true of the principal singers. A Lohengrin who is a complete embodiment of the part is found in Barron Berthald. Every action and facial expression portrayed the very poetry of the character, and rarely has the music of the part been sung so well in this city. Intelligence and artistic taste characterized his performance from beginning to end. Ella Prosnitz sang Elsa better than any part she has yet done in this house, and her interpretation was after the accepted style. Schuster as King Henry appeared to good advantage, Mary Linck's Ortrud was conscientiously done. Wm. Mertens as Telramund appeared thoroughly at home, and sang the heavy music of the part exceptionally well. Zani was only fair as the Herald and the chorus was as good as could be expected with short rehearsals. The ladies of the chorus sang better than usual. Of course the orchestra is a very important adjunct to all Wagnerian Operas, and Mr. Hirschfeld and his band of musicians ably interpreted the noble score. During the past and present Grand Opera Season the Tivoli has given some notable productions, but never anything that equalled in finesse and brilliancy last Tuesday night's performance of "Othello." Verdi's Opera, like the tragedy, is a two star affair with even parts for the tenor and baritone. Both Salassa and Avedano scored triumphs. Their beautiful duet, "Vengeance is Mine," at the close of the second act, simply excited the audience with enthusiastic approval. Cheer after cheer sounded through the modest little opera house. Three, four, five times was the curtain raised and lowered. Thrice was the duet repeated by the good natured artists. It is not often that one can hear Salassa — he does'nt always sing, but when he does he is made to do double duty. His singing it is unnecessary to attempt to criticise and his acting is not far behind his singing. Avedano, too, is a good actor, thus making the opera doubly interesting. Miss Lichter's Desdemona was well sung and acted. Her singing of the beautiful "Willow" song, shading so delicately into the 'Ave Maria" won for her repeated applause. Miss Beckwith made an acceptable Emilia Sig. Fornau as Cassire, with Messmer, Perron, Zani and Fogarty completed the cast. The ensemble work was notably good and Mr. Hirschfield deserves more than a word of praise for the way he handles his orchestra. The cAlcazar. ""The drama, Wages of Sin, was given * a most finished presentation at the Alcazar this week. Too much cannot be said in favor of the careful manner in which each player carried out the character allotted t and, as usual, the stage settings were all that could be desired. Eugene Ormonde, as Rev. George Brand, was exceptionally clever. He portrayed the part of the wronged minister with unusual skill, demonstrating his fitness for almost any role that might be assigned him. He is fast becoming a great favorite. Miss Gertrude Foster, as Ruth Hope, was cast for the severest character of the piece, yet she showed no weakness in its interpretation. Miss Foster shared the honors with Miss Mae Keane, as Barbara Dale and Miss Juliet Crosby as Juliana Bloggs, both of whom were great successes. Miss Helen Henry filled the character of Rose Deane in a most fascinating manner, and she is "just as cute as she can be" as the sweetheart of Harry Wentworth, the part portrayed by Frank Denithorne. Miss Howe, as Mrs. Bloggs was particularly good. Of course, George Webster was the the villain, Stephen Marlee, and a most acceptable interpretation he gave of the character. Charles King, Carlyle Moore, Clarence F. Montaine, William Morris and Herbert Carlon were each very acceptable, showing much study and attention in their work. The performance is a good one throughout, and has been playing to a well filled house all week. The Alcazar has one of the best orchestras in the city. Under the direction of Mr. Eada an unusually good musical program was rendered. cMorosco's Grand* ""The long and well-attended series of * operas already produced by the always reliable and entertaining company of singers holding forth at the Grand Opera House was followed on Monday night by Von Suppe's entertaining opera, Fatinitza. The impression left on one's mind after the last strains of music had sounded was that it was really Wooley's night, although, of course, Wolff and Persse, Edith Mason and Hattie Bell Ladd were excellently placed and were altogether pleasing. As Steipann, the sergeant, Arthur Wooley was exceedingly droll, and at his most amusing self. With a chance to overdo many situations, and to extend his mirth provoking opportunities into tiresome lengths, it was certainly pleasing to see that he steered clear of all buffoonery and gave a performance that showed his genuine worth as a comedian. William Wolff had in the part of the Russian General Kantchukoff a chance that well suited his vigorous and forceful personality. Thomas Persse took care of the part of the adventurous American newspaper correspondent, Julian Hardy, and minus knee-breeches, wig, spangled coat and dainty apparel of any kind that generally go to make up the hero of comic opera, he was a distinct and refreshing success. I say "refreshing success," for I never before realized how much there was to the sweet, manly tones of his tenor voice until he appeared in ordinary citizen's clothes, and so I have concluded that in Julian Hardy characters I like him best. Edith Mason's clear soprano is certainly far ahead of the general run of the singers appearing in comic opera, and if Miss Mason would, as my neighbor on my left whispered to me, ' ' have less of that repose," what an exceptional singer she would be. For we cannot help admiring the ease with which she sings and the purity of her tones, if one cannot altogether commend her manner of using them. Hattie Bell Eadd, with a certain air of good fellowship that reminds one of May Irwin, made a handsome and dashing Vladimir, and although being somewhat uncertain in her lines the first night and undecided whether to be "obliged to fly," or "obliged to flee," she certainly always is charming to look at in top boots, and can be de pended upon to take good care of her part. The. excellent management of the stage and the music that we have grown accustomed to at the Grand were both features of Monday night's very entertaining opera. The Columbia Though not officially announced, ■ it is probable that the first week \ of the Modjeska engagement at the Columbia will be devoted entirely to the new play of " Marie Antoinette" written for her by Clinton Stuart. It is going through its trial performances in the southern part of the State, and on reaching here it promises to be a . smooth and artistic production . It will 1 be given with, it is said, some very! elaborate and artistic scenic effects. ] Another novelty which this engagej ment promises is a new adaptation of the well-known French comedy " Le Battaille des Dames" or the : " Ladies' Battle." It will probably be( seen on the opening night of the second week. The play is not long enough for a full evening's entertainment, and will, it is said, be preceded by "Gringoire," with Mr. John E. Kellerd in the title role. TTze Concert Season. "The concert season was opened last * Thursday night at Sherman & Clay Hall, by Harry Samuels, violinist and Meta Asher, pianist and was a brilliant success. Mr. Samuel's playing was the main feature of the evening. He showed himself a finished artist. The attendance was large. Florence cRpberts Come of the most pleasant recollec~ tions held by theater-goers of San Francisco are associated with the sea-^ son just closed by Lewis Morrison and his charming wife, Florence Roberts,; at the Alcazar. Miss Roberts had made an impression that will long linger in the memory of all who en-l joyed her performances. In a round of parts, from Shakespeare to modern comedy, she has shown her versatility in a manner that places her high in the ranks of finished artists, and it is with pleasant anticipation that San Francisco looks forward to the time for her next season. Read the Dramatic Review.