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A "Caruso" night at the opera never fails to attract to the Academy of Music, not only what the managers, prone to speak in commercial terms, call a "capacity" house, which translated into idiomatic English means that every seat in orchestra, balcony and galleries has its occupant, but it also serves as a moment for an assemblage which represents the wealth, fashion and lineage of Brooklyn. While it is true that society is represented at all of the opera nights, there seems to be a more lavish display of gowns and jewelry and a more brilliant coup d'oeil in a "Caruso" audience.

Most of the occupants of the boxes, orchestra and balcony have probably heard the great singer in "Pagliacci," but somehow they seem never to tire of listening to that robust, yet mellow voice. There are in the Metropolitan company other tenors than Mr. Caruso, but after one has heard all of them, one comes to the conclusion that there is but one Caruso. One tenor lacks the mellow and velvety quality of the Italian's voice, another his power, the third his ease and fluency of utterance. It is true that as an actor Mr. Caruso does not shine in comparison with Renaud, Rothier and the French singers generally, but as Canio in Leoncavallo's opera he is thoroughly at home and his acting is natural, spontaneous and artistic in the truest sense of the term.

The Metropolitan management, although it could have filled the house with Caruso alone, was not sparing in sending its best singers to Brooklyn last night. It was the usual "double bill," with "Cavalleria Rusticana" as "Pagliacci's" counterpart. Inquisitive people - out upon them - considered this sufficient reason to ask questions. Why, said them, has 'Pagliacci" received new running mates in Manhattan - such as "Versiegelt," for instance, and why are such novelties kept from Brooklyn? The old combination is very fine and entertaining and all that, but there are times when even Brooklyn would like to be considered up-to-date.

In the Mascagni opera Emmy Destinn, Riccardo Martin and Dinh Gilly had the leading parts. Miss Destinn has won as great a place in the affections of American operagoers as in those of her native Austria and Germany. Mr. Martin is one of the most promising of the younger generation of tenors, but does not seem to be able to rid himself of the habit of forcing both voice and action in such a way that the audience grows fearful that he may do some harm to the fine vocal chords. M. Gilly is not only a fine baritone, but like all artists trained in the French school, an excellent actor. Mascagni's chef d'oeurve under the circumstances received an interpretation which vocally and dramatically met every demand that even the most fastidious critic could conceive. Earlier in the season Mme. Gadski was the Santuzza. But admirable as her interpretation was, the role is more suitable to the Slavic temperament of Destinn.

In the case of "Pagliacci," along with Caruso, the great audience had the pleasure of hearing Amato, one of the greatest baritones on the operatic stage today. The Italian is by no means the finished artist that Renaud is, but the latter's voice is not equal to Amato's. Renaud anyway is the greatest actor among opera singers and hence any comparison with him from the point of view of dramatic expression is unfair. Amato, nevertheless, is an excellent actor and his voice a perpetual delight Alma Gluck, who is rapidly coming to the fore as a singer of leading roles, and Messrs. Bada and Reschiglian were in the cast of "Pagliacci." Mesdames Wickham and Borniggia were in the cast of "Cavalleria Rusticana," along with Destinn, Martin and Gilly, truly an embarrassment of riches. M. Sturani was the conductor, and while not a Toscanini, a Seidl or a Hertz, he did his work creditably and to the satisfaction of the audience.

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Search by title: Cavalleria Rusticana, Pagliacci,

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