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From the parting of the curtains upon Mr. Urban's conception of thirteenth century Parma to the end of the work was heard with respect. Of course, it was applauded - everything is applauded at the Metropolitan, even masterworks. But there is reason to wonder if the new piece brought unalloyed joy to many of its hearers. Pretty tunes have always been the justification of opera for the average man. But there are few of them in "Fra Gherardo" and it is a question if Pizzetti has supplied anything that is likely to take their place in the regard of the general opera goer.

There is not a doubt in the world that Pizzetti is a scholar and a good musician, that his musico-dramatic ideals are of the highest, that he has a poetic nature, strong convictions, intellectual sobriety. All this is admittedly to the good; but, alas, it has little to do with the creation of music. Pizzetti has given, in "Fra Gherardo," a score that is conspicuous for intellectual substance and ingenuity and fine craftsmanship. But none of these desirable qualities has enabled him to turn his aesthetic conscience into eloquence, or his seriousness into telling power, or his fineness of feeling into beauty. This music is essentially sterile. It is music of the will, of aesthetic piety, and good intentions.

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