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While not exactly a novelty, since it was first performed here at the Metropolitan Opera House on February 14, 1912, and has been given in this city several times since then, "The Jewels of the Madonna" had unusual potency of attractiveness in its presentation by the Metropolitan Company of New York, at the Academy of Music last evening, the first performance in Philadelphia of Wolf-Ferrari's opera by that organization. It was an elaborately staged and highly interesting and praiseworthy interpretation of the dramatic and colorful work, with Maria Jeritza in the role of Maliella, originally sung here by Carolina White; Giovanni Martinelli as Gennaro, Giuseppe Danise as Rafaele and Marion Telva as Carmela, sung here in the former cast respectively by Amadeo Bassi, Mario Sammarco and Louis Berat.

The story of "The Jewels," the libretto being by C. Zangarini and E. Golisciani, tells of the hopeless love of Gennaro, a young blacksmith of Naples, for Maliella, gay, reckless and inconstant in her love, who in her infancy was adopted by Carmela, Gennaro's mother. That he may dazzle the girl and win her favor, Gennaro steals the jewels from the image of the Madonna, seen in the first act procession in the streets of Naples, and when, after momentary fascination, the girl horrified at his deed of sacrilege, betrays him to Rafaele, leader of the Cammorrati, in despair and penitence he lays the jewels before a likeness of the Virgin, stabs himself and dies as a ray of sunlight, falling upon the jewels, betoken his forgiveness. Wolf-Ferrari's elaborate and mellifluous score admirably suits and illuminates this dramatic narrative which reflect the gay, animated Neapolitan life, with its undercurrent of superstition and tragedy.

The curtain rises on the first scene, an open square on the Bay of Naples, without overture or prelude, the revelry of the crowds, with song and jest and dance, interrupted by a spectacular religious pageant, in which is born aloft the jewel-bedecked figure of the Madonna. There is in this act an intermezzo of much melodious beauty, and the second and third acts have introductions of color and spirit. The score is rich and melodious throughout, particularly in the orchestration. The voice parts running mostly in recitative and declamation, though there are several numbers that stand out, such as the duet between Gennaro and Carmela, in the first act, solo passages for the tenor and for Maliella and, especially, a rollicking serenade, sung by Rafaele and his male companions to Maliella, in the second act. The music during the Precession of the Madonna is impressive, also in the second act, when Gennaro disclosed the stolen jewels to the horrified, though fascinated Maliella, and in the final scene at the discovery by the crowd of the stolen necklace around the neck of Maliella, and the repentance and death of Gennaro.

The performance last night, conducted with skill and understanding by Mr. Papi, was spirited and in many respects of conspicuous merit. Mme. Jeritza made much of the role of Maliella, in her own characteristic way, emphasizing its dramatic side and being at her best in the later scenes. She was not the typical Italian brunette, as visualized by both Carolina White and Rosa Raisa, but covered her own blond tresses with a dark reddish wig and thus somewhat disguised her more familiar personality. There was much fervor in her acting, and she managed to put in one of her accustomed tumbles by rolling off a bench, and even if there seemed to be no particular reason for so doing, it was well done and effective. In her first act she was full of impish tricks and capers that caught the audience and enlivened the scene, though they might be said to resemble the antics of an impish Paris gamin more than the caprices of a willful, tantalizing Italian girl of the Neapolitan streets. But Jeritza knows how to dominate the scene and hold her audience and this she seldom fails to do. The more tragic scenes of the second and third acts were splendidly done, and in these her singing also was of fine dramatic effect. Mr. Martinelli, in makeup and acting was faithful to the character of the love-smitten, brooding young blacksmith, putting much feeling into his forceful and sympathetic vocalism as well as his vivid impersonation. Mr. Danise looked rather the well-fed, dashing gentlemanly fop than the domineering, daring and masterful leader of the Cammorra, nor is his voice particularly suited the music of the part, though he sang some of it well, notably in the serenade with other male voices. The only other prominent member of the cast is Carmela, the mother of Gennaro, and this was well done by Miss Telva, whose contralto tones were heard with good effect in the aforementioned first act duet with Mr. Martinelli.

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