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TN TIMELY VIEWS. CAMERA MEN DEPICT NEWS EVENTS OF DAY
Roosevelt Caught Emerging From His New York Campaign Headquarters-Two Kew Submarines Are Equipped With Wireless-River Wrecks Many.
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NEW TORK. ilrch (Srxclul.)
In the round-up of th thl-vr
who atole III.OO from Wilbur F.
Smith nj rrnk V orrnll. mcenKers
of the Kat Itlr Nktlonal Bank, Nw
York. whIU th bo wr rldlniC In
Uxlrab recently, the. New York polio
brou sat from Memphis Euiren) Splaln.
cf Huston, lie admits being one of
th mrn who not into the cab with the
mmenjrn, beit them and took the
lag of money. The police 1 cap
tured James f'ascale. known aa "Jimmy
I Stan." and hla partner, Robert Ulale.
The offirera believe that with the cap
ture of theae men they have the key
In the taxirab robbery- Paacale and
llele run a Kalnon where the money
waa taken and divided after the hold
up. It waa there, too. that the rob
bery la be If red to have been planned.
Ulno Montanl and Jaaa Alhroxzl were
alao acru-d of complicity la the rob
bery. . .
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Much lntareat haa been hown by
people throufhout the country In the.
caae of Koulke K. Brandt, of New York,
the youxiif man nho maa aentenced to
priaon fr 10 years for burglarlxlnr the
home of his former employer. Mortimer
Schlff. After aervlns three years
Brandt won his fleht for a new trial,
lie recently secured bail which clvee
him the liberty to so where he pleaaea
under bondad promiae to appear before
the authorities when ordered. '
The two newest t'nited States sub
marines have been sent from the
Brooklyn Navy Yard to Norfolk Va.,
to undergo test.. They are the only
veaaela of their class fitted with wire
leas teletmtphy apparatus. Their coat
was tSOU.OOO apiece. They are known
as E 1 and E :.
' e a
lfead'tuartvrs for the Rooaeve!t cam
paign have been opened by Oliver
Clinton Carpenter In the Metropolitan
IJfe Buildinic In New York. Mr. Car
penter la at the hend of what la known
aa the 'Hotavelt Committee of the
City of New York." lie la an attorney
whu wan an a.sitant to Oeorsce B.
Cortelyou In the campaign of ISO 4.
The Powers are much exercised over
the report ttiat an aatlfortlgn feeling
Is developing- In Chins. This means
thut the lives of the missionaries are
In danger. With the representatives
of the Amerlcw Bible Society, they
re scattered all over China, many of
there In places where their sovern
raents have no representatives and
where they will be dependent entirely
on the local authorities for protection.
Apparently the local authorities are
helpless In the Strug gie.
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W. A. Lydon. a millionaire of Chi.
I-
cago, has had built at Wilmington one
of the finest yachts which will be
launched this year. He calls her the
Lydunla. If she had been completed
In time he would have taken a cruise
to the West Indies this. Spring. As she
la delayed, he will use her on the Lakes
this Summer and go to Italy In the
Pall. The Lydonla will be fitted out
at New York In April. She Is 21C feet
over all, S7 feet beam and It feet depth
f hold.
This has been a disastrous year for
river craft. Extremes of temperature
have caused ice Jams which have sunk
many vessel. The steamer IL K. Bed
ford, a typical Ohio River steamer, was
sunk a lew aays ago near jiuneii.
CREATION OF GERMAN-ITALIAN WRITER
WINS PLAUDITS OF CRITICAL NEW YORK
Andreaa Dippel Gives Metropolitan Audience Postponed Performance of "The Jewels of the Madonna," and
Enthusiastic Reception Is Given to Wolf-Ferrari's Production Plot Is Told "by Emilie Frances Bauer.
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BT KMIIJE- TRANCES BAUER.
NtKKAfl IMPPKI. brought his
splendid compsny to the Metro
politan again Tuesday night, when
the postponed performance of Wolf
Ferrari's "The Jemels of the Madonna"
was given. MrPlppel n this, as In
everything which he hss presented so
far. has left no detail uncared for and
the enthusiasm with which the vaat
audience received the work must have
proved that he satisfied his following.
The etory. as well as the music. Is
the creation of the German-Italian com
f.osec and by setting the scene n Naples
he brought about the possibility to use
tho Neapolitan boat songs and the
popular dance music of that section
of the world which must account for
some moments which came perilously
near the commonplace.
Cursorily told, the plot concerns the
rivalry between Gennaro, a blacksmith,
and Kafaele. tho head of the Carr.orrlsts
of that city for the love of Mallella, a
lcautlful and wilful g'rl adopted by
the mother of Oennaro. In accordance
with a vow made to the Virgin, aa her
son was lying at the point of death.
Kha chafes under the restrictions of
her borne life and is attracted by the
handsome man who uses all Ills powers
to entice. her.
Move to Wis) Her Back.
As the procession of tlie Ma
donna passes, Kafaele says passion
ately to the girl: "Must I be damned
for you?" Look at those 'Jewels, the
Jewels of the Madonna! Shall I place
them around your neck?" Gennaro
vainly strives to win her out of her
fascination and finally decides to give
her the Jewels himself. One can hardly
believe that a woman of any type. In
any frame of mind In that super
stitious country could bring herself
to adorn her person with those Jewels,
even though later she takes her life
as she realizes the enormity of the
crime she has inspire" and committed.
It was a great question among those
who understood the text last night
whether the words of such a work were
not better left to he lmaglnalon, the
story being strong enough to carry
without them. Even In Italian they
are commonplace, many times revolting
and not Infrequently disturbing.
Wolf-Ferrari based his story upon
the condition of a young girl crazed
with the desire to break from the bonds
which held her to tho peaceful life of
the mother and her eon Oennaro, the
blacksmith, with whom she had been
raised as a foster sister. The strain
under which she lived, the conflict of
emotions, the influence of Rafaele, the
handsome, dashing, bullying head of the
Cammorists. all wrouKht her to such a
pitch of hysteria that! she represented
the spirit of revolution and of rlotry.
There was every reason to believe that
this story and the enthusiasm with
which the composer threw himself Into
the fury of It, reflected Itself In his
work, not only as music might translate
or Illustrate its Inspiration, but as a
subject might respond to suggestion
and the composer responded to the
riotous lawlessness of it all practi
cally as the girl did.
Who could remember the purity
of line, .the exquisite cameo. like
workmanship of 'JLe Donne Curlose."'
or, indeed, "The Secret of 8u
xanne" and not realize this? Wolf
Ferrari's name tells the etory of the
German-Italian alliance In tempera
ment and his "Donne Curlose" In Ger
man as Mozart was German. The
former was tempered with Italian in
fluence because of his blood, the lat
ter because at the time be wrote there
were only Italian singers or rather
singers of Italian opera and the ma
terial called forth the character of the
mediums of expression. But .Wolf-
Ferrari's Italian blood asserted itself
and he threw himself Into the maze of
color, of passion, oi allurement with an
abandon as unrestrained, as overpower
ing and as fatal In a certain sense as
did his Mallella.
Story Is Sordid.
The story is banale, and it
is sordid; It deals with the low
est life and it is a representation of the
worst phase of It. But the genius of
Wolf-Ferrari stands for much In this
case. There are many broad sweeps,
many tremendous effects of orchestra
tion and of originality, much music
that Is exceedingly melodious and
oeautiful. many rhythms that are sing
ularly enticing and most of these are
well bound together. He is admirable in
the massed effects and he weaves
melodies in and out with a dexterity
that Is truly bewildering.
Many of these climaxes are so ex
ceedingly powerful, eo drastic in their
appeal that there -re frequent lapses
that amount to a weakening, but tho
phase which signalizes the skill of the
composer is the singular manner In
which he characterizes In music the
spirit of the role. This alone would
mark "The Jewels of the Madonna" as
one of the greatest creations of the
young Italian school. Wolf-Ferrari Is
not alone in the reflection of those who
have gone before htm, and he shows a
Strauss Influence, Just as he does that
of Puccini or of Mascagnl, but he has
a ruggedness that amounts to power
and there is a lyric quality sense which
makes Impossible the accusation of de
fying melodious music for the sake of
bizarre modern effects.
There can be only words of praise for
the superb production, for the mastery
of Campanarl, whose powers have not
been heard to a better advantage this
season and who has put Into 4 he work
all which could possibly go to make for
success.
It was the. first real opportunity that
New York has had to measure the
powers of Miss White, wh may be said
to have created , a type as indi
vidual as a Carmen and as poignant
as the stage offers. Her voice Is one
of great beauty, clear carrying and con
vincing una she has personality to a
marked degree. Although an Ameri
can, she was In type and In equip
ment thoroughly representative of an
Italian artist no less than of the
Neapolitan girl she was Impersonating,
one might almost say embodying. Miss
White enjoyed a great personal triumph
last night as did two old friends from
Manhattan opera days, Bassl and
Sararaarco, both in strong character
roles in which Bassl showed a real
understanding of the tragic element
and he made a most appealing figure.
His voice, too, sounded good again to
many who have enjoyed him in the
past. Sammarco has never had a role
which gave him wider opportunities,
and he embodied to the lasst degree the
power of attraction no less than tho
repellent characteristics of this dash
ing leader of the Cammorists who had
won the soul of Mallella Into perdition
and who had been the cause of the
crime of. Gennaro. Sammarco's voice
haa the same fresh beauty, the same
luscious, silvery quality that made htm
one of the greatest favorites among
the Italian baritones who have de
lighted New York and which gave him
a position that even his absence has
not cost him.
Louise Berat. as Carmela, the mother
of Gennaro, again proved herself an
artist of significant merit, one who
understands the importance of simplic
ity, of sincerity, in addition to which
she sings exceedingly well.
Grand opera In tabloid form la the
way In which Albert Mlldenbeg would
reach the largest public in this coun
try. While others are speculating upon
Inducing or coercing the Metropolitan
Opera-Houae to abandon opera In for
eign tongues for translations of the
masterpieces. Mr. Mildenberg goes to
work quietly with his own experi
ments. Mr. Mildenberg based his atti
tude upon the fact that both Leon
cavallo and Mascagni were willing to
reduce their own operas to the time
of 26 minutes and in this form Leon
cavallo conducted his "Fagllacci" In
London, himself.
"It dues not take a million dollars to
prove that opera In English Is wanted
by the American audiences, and if any
director of the Metropolitan Opera
Company wants to risk $10,000 I can
produce an artistic and financial suc
cess In aix months. My plan for
giving standard grand opera repertory
in vaudeville is the most practical
step toward opera in English. I have
selected one of the most spectacular
of all to begin with in "Samson and
Delilah," first because the story is
known to every man, woman and child
and some of the music to a large part
of the public and the spectacular ele
ment Is attractive to all classes."
Samson and Delilah is the first of a
repertory of operas to be given in
English by an American company in
vaudeville, the attraction being, booked
throughout the country for 40 weeks.
The version Is dramatized and con
densed by Mr. Mildenberg, who Is
also building and casting "Aida.
"Lakme," "Pagllacci." "Carmen" and
"Faust." He is most enthusiastic over
the work and its possibilities, and he
says:
"They are not drawing $2000 a night
but they are fresh, young American
voices, virile actors, enthusiastic to a
delightful degree and they will deliver
the goods. They will not have to wait
until doomsday to get a chance to
sing small parts at the Metropolitan
but I will wager that within two years
more than one of the members of my
company will have found their way
to that very august stage and I shall
be glad to have been the means or
helping them there."
Not long ago. Mr. Mildenberg In
terested a number of people in the idea
of giving opera under municipal sup
port and at that time he made a
thorough investigation of shops and
factories which resulted in the dis
covery of some exceedingly beautiful
voices and talents among the peoplo
of that class. Many of these began
rehearsing and training under Mr.
Mildenberg and people into whose
charge he gave the singers and the
results have strengthened his belief
that this country holds remarkable op
portunities in all classes.
"Give me a small theater and an or
chestra and six months time and I
will prove that I can cast any opera
in the repertory with an all American
company and deliver a production that
will need no apologies. I have not
changed the muBic of the masterpieces,
but I have arranged the text so that
every word and syllable is easily under,
stood In the last row of the theater.
Bo much Is eliminated from every opera
that is given that I have no com
punction about eliminating for the pur
pose of giving condensed versions so
that the story comes out sharply and
completely, I . have reduced the story
of "Samson and Delilah" to one scene
in which I have actually staged the
seduction of Samson and Ihe removing
of his locks. It simply means that the
dramatic elements must be greatly in
Tensifled and in reality it takes more
real acting than the original."