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Owing to a slight cold Edward Johnson was replaced by Tokatyan in the role of Romeo at the performance of 'Romeo et Juliette" last night at the Metropolitan. Tokatyan has a lovely voice and in the balcony scene it was full of youthful appeal. Queena Mario was the Juliette, and because Queena Mario represents what thousands of young American singers would like to be - an arrived member of our greatest grand opera organization - she deserves analysis. Furthermore, I believe she can stand it.

I am told she comes from Akron, Ohio, and that she has worked hard - unflinchingly. That is her first asset. As Juliette Miss Mario was ideal in face and figure. Her tone production and phrasing were exquisite and, furthermore, she sensed the meaning of Shakespeare's love-heroine. That is to say, she was girlish as well as tragic and she made out of the part more than the usual coloratura, prima donna role.

Miss Mario acts but does not overact, and yet were she to achieve more simplicity of gesture she would be nearer in her evident dramatic ideal. Like Lillian Gish, Queena Mario is the true ing?nue type that poets, librettists, and composers have dreamed of ever since the idea of "ing?nue type" came into vogue in grand opera. In the first act this - shall we say - Lillian Gish over-daintiness- was charming, but later on, while she felt and acted the coming tragedy, that restless charm was still too evidently there. It is true of both of these gifted young actresses that greater simplicity would enhance their art.

Search by season: 1923-24

Search by title: Rom?o et Juliette,

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