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At the Metropolitan Opera House last night an audience of good size listened to Gounod's "Philemon et Baucis," the mad scene from "Hamlet," and Mascagni's "Cavalleria Rusticana." Mme. Calv? was the central figure of the evening's proceedings. It is difficult to write of her treatment of the mad scene without using terms that might sound rhapsodical. Such a remarkable combination of acting and singing has never been known on the operatic stage in this country. The absolute justice and eloquence of every look and pose are the perfection of artistic judgment. Her conception of the insanity of Ophelia shows a singularly sympathetic insight into the character, and the execution is at every stage adequate, and at none exaggerated. But in addition to the acting, there is the wonderfully beautiful singing. It is the most flawless colorature vitalized by pure dramatic color. The quality of the voice is always in keeping with the character, and every phrase is instinct with purpose. After such a performance, it seems quite safe to say that Mme. Calv? is the greatest artist on the lyric stage today.

The performance of "Cavalleria Rusiticana" enabled her to show her command of contrasting styles, and enlisted also the services of Signor Cremonini as Turiddu, Mme. Mantelli as Lola, Mlle. Bauermeister as Lucia, and Signor Ancona as Alfio. "Philemon et Baucis" was performed by Miss Engle as Baucis, M. Mauguiere as Philemon, M. Plan?on as Jupiter, and M. Castelmary as Vulcan. The most notable feature of the opera was M. Plan?on's beautiful singing of the slumber song.

Search by season: 1895-96

Search by title: Phil?mon et Baucis, Hamlet: Mad Scene, Cavalleria Rusticana,

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