Metropolitan Opera Archives

The brilliant audience gathered in Mechanics Hall last evening declared Mme. Melba's Juliette peerless. Her triumph was instantaneous and complete. Bostonians are capable of appreciating merit when it is presented to them and they do not hesitate to express their appreciation. Melba sang for a month or more in New York before she received proper recognition and this recognition came only after she had sung at a popular price Sunday concert. It remained for the "people" to tell the millionaire connoisseurs what a great singer Melba is. Boston appreciated her from the first hearing. Praise of her singing can scarcely be too lavish. She is without doubt the greatest vocalist on the operatic stage. She easily takes the rank among the many splendid songbirds Messrs. Abbey, Schoeffel and Grau have brought to Boston. Melba was introduced amid fitting surroundings. A finer cast could not be asked for than that which presented "Romeo and Juliet" last evening. There was Jean de Reszke and M. Plançon, besides half a score of other capable artists. All things considered it was the best cast of the week,

De Reszke received a royal welcome and he deserved it, too, for surely he is first among all operatic tenors of the age. A great surprise and delight was the singing of M. Plançon. The praise which heralded the coming of the singer were not that enthusiastic enough. His powerful basso voice is simply marvelous in richness and beauty of tone. The grand trio of the third act was sung last evening as it surely never was sung before. It is not remembered that a Boston audience was ever stirred to such a demonstration of enthusiasm. The artists were recalled seven times.

But to tell of Melba's personal triumph. Vocally she is an ideal Juliet. Her voice is limpidity itself. It is fresh and lovely in tone. But more than all is the perfectness of her technique. Even Patti cannot be said to excel her in this respect. No singer could sing with greater ease. The notes seem to fairly bubble from the lips. Her singing of scales is indescribably beautiful.

De Reszke is in all respects an ideal Romeo. He both acts and sings the role. The great treat of the evening was the trio in the friar's cell. In this number Melba, de Reszke and Plançon fairly excelled themselves. A more perfect harmony was never heard. M. Plançon is, indeed, a wonderful basso. Until last night Bostonians believed that Edouard de Reszke was first among bassos. Now their favor will be divided, if not wholly transferred. M. Plançon's second appearance here will be a very important event

It is not possible at this time to give the individual members of the credit their singing deserved. It must suffice to state that all were eminently satisfactory. Good work was done by the chorus and Sig. Mancinelli again showed the admirable control that he has of the orchestra.

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