Metropolitan Opera Archives

The character as well as its music is well suited to Mr. Ruffo's methods. It is true that in recent seasons he has shown an appreciation of effectiveness of restraint and that his singing has improved in tonal quality because of his avoidance of the natural temptation to give free rein to his vigorous impulses and his powerful voice. By keeping his general level of dynamics lower he has made his outbursts more significant.

In Gerard he has many opportunities for tempestuous utterance. The butler is a person of ugly temper and physical demonstrativeness. Mr. Ruffo immerses himself with pleasure in the stormy waves. He does not tear passions to tatters as often as he used to, but one feels as if the right thing had been done when he strips off his livery and goes out to don the tricolored sash.

Mme. Ina Bourskaya replaced Mme. Howard as the Countess. She seemed nervous and ill at ease. Perhaps in future performances she will be able to comport herself more like a "grande dame." Miss Ponselle is not new to the role of Madeleine, but she has made progress in it. She has learned in recent seasons much about costume and makeup, and last evening she looked very well. Her beautiful voice was in excellent condition and she sang her music extremely well.

There was also Mr. Gigli whose Andre Chenier is the real reason for the retention of the opera in the repertory. He was in all his glory last evening and the house rang with bravi. Mr. Serafin was in the conductor's chair and kept the music moving. It was a good performance on the whole, and in these days audiences rarely hear three such voices together as those of Miss Ponselle and Messrs. Gigli and Ruffo.

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