[Met Performance] CID:87350
Faust {339} Matinee ed. Auditorium, Atlanta, Georgia: 04/26/1924.

(Review)


Atlanta, Georgia
Auditorium
April 26, 1924 Matinee


FAUST {339}

Faust...................Armand Tokatyan
Marguerite..............Frances Alda
Méphistophélès..........Fyodor Chaliapin
Valentin................Lawrence Tibbett
Siebel..................Ellen Dalossy
Marthe..................Kathleen Howard
Wagner..................Louis D'Angelo

Conductor...............Giuseppe Bamboschek

Review of Enrico Leide in the Atlanta Constitution

Many Singers are Praised for Work in Closing Opera

"Faust" - words by Barbier and Carre, founded upon Goethe's tragedy; Music by Charles Gounod. "Faust" - the masterpiece of Gounod, now sung more than any five operas, was first received, some 60 years ago, with indifference in Paris and all but failed in Milan. Perhaps it would have been entirely vanished from the stage if it had not been for that eventful June day in London when Patti's Marguerite received such a tremendous ovation.

Some of the most delightful, inescapable tunes are in Gounod's music and "Faust" has veritable oceans of melody. Gounod put the best he had into the "Faust" score, but the best he had happened to be something about as far from Goethe's comic grandiosity as is possible to imagine. If one is to get the genuine joy out of the "Faust" music one must leave Goethe out of things entirely - hazardous indeed to take the story seriously.

Chaliapin Scores

"Faust," as given in Atlanta Saturday afternoon, was another triumph for Chaliapin. Truly, Mme. Alda was ideal as Marguerite; Mr. Tokatyan sang the famous "Salut, Demeure" with ethereal effects. And in the smaller parts Miss Dalossy, Miss Kathleen Howard and Mr. Lawrence Tibbett blended admirably into the fantastic atmosphere of the play.

The entire attention of the audience, however, seemed to be focused on one dominating figure on that stage: Chaliapin. Chaliapin's singing was as incomparable as ever and in his acting one could easily perceive the perfection of a consummate artist. He is a great student of the Goethe version of Mephistopheles, for he prefers to act it as the rowdy devil rather than the polished gentleman adventurer.

Splendid Actor

Chaliapin has one particularly remarkable gift. He can assume a role, absorb it thoroughly, turn it into flesh and blood, until it becomes real and the audience begins to feel - almost breathe - the very emotions of the character portrayed on the stage. The audience at the end of each act applauded and shouted as though the action of the drama had been communicated by Chaliapin into the auditorium, with all its aspects of love, hatred and Machiavellian deviltry.

Mr. Bamboshek conducted the score with such an ease and mastery that principals and orchestra sounded in perfect ensemble; the chorus under Mr. Setti, and the bewildering ballet shared the honors of the day.



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