[Met Performance] CID:25170
Faust {173} San Francisco, California: 11/24/1900.

(Review)


San Francisco, California
November 24, 1900


FAUST {173}

Faust...................Albert Saléza
Marguerite..............Nellie Melba
Méphistophélès..........Edouard de Reszke
Valentin................Giuseppe Campanari
Siebel..................Louise Homer
Marthe..................Mathilde Bauermeister
Wagner..................Eugène Dufriche

Conductor...............Luigi Mancinelli

Review of Blanche Partington in the San Francisco Call

OPERA 'FAUST' MAGNIFICENTLY SUNG BY STARS

Melba Gives New and Splendid Expression to Her Marguerite

Mr. Grau is again "delighted!" Last night the 'Faust" production taxed the resources of the Grand Opera-house to its utmost capacity. As the season's end approaches, the city seems to begin to realize the rich enjoyment that lies within its grasp and which is slipping, slipping with the days from its fingers.

"Faust" is always popular and last night held faithfully to its traditional reputation. The principals surpassed themselves. Melba, Melba the cool little Juliet of the other evening, seemed possessed, bewitched by some intimate spirit of inspiration, beyond even that of her first night's memorable rendering of Marguerite. The "Jewel Song" was sung with a vivid difference in its interpretation,. More coquetry, spontaneous vanity and naïve enjoyment. The "King of Thule" seemed even more happily incidental and, in the tragedy, too, was a deeper, fuller, more realistic note. Her voice was forgotten - perhaps vocally the performance was not so perfect - but one would not change last night's for the former rendering for all that. It is doubtless the old story of environment. The audience was there; therefore the inspiration such sensitives these artists be!

To the full as interesting as Melba's comparison with herself of the other evening was that of De Reszke with Plançon as Mephisto, and there is hardly a pin's point to choose between them. Perhaps Plançon's devil has more of the sinister essence, the ominous note, and De Reszke's a richer sense of the comedy of the conception, but their interpretations are wonderfully alike, and alike worthy. The part was gloriously sung.

Saleza was in good voice and sang his good song of last week, and acted in his pleasant, graceful fashion. Miss Bauermeister is an admirable little Martha, and Louise Homer was again charmingly heard as Siebel. Valentine was well handled by Campanari, and Dufriche sang the Wagner role.



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