The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . sed. It was vitalized to an extraor-dinary degree. The character of the old hus-band . . was little by little revealed until thevery soul of the man was bared. Mr. Marcouxsemployment of his tones was as finely dramaticas his facial expression, the sobriety and seri-ousness of his gestures, the authoritative bear-ing, the dominating individuality. . All inall it was one of the most striking performancesthat I have seen on the
The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . sed. It was vitalized to an extraor-dinary degree. The character of the old hus-band . . was little by little revealed until thevery soul of the man was bared. Mr. Marcouxsemployment of his tones was as finely dramaticas his facial expression, the sobriety and seri-ousness of his gestures, the authoritative bear-ing, the dominating individuality. . All inall it was one of the most striking performancesthat I have seen on the operatic stage duringthe last thirty years. On January 26, Marcoux appeared as Mephis-topheles in $t Faust and again surprised hisaudience by his unique and marvellous char-acterization. Again quoting the same critic: Mr. Marcoux gave a remarkable impersona-tion of Mephistopheles last night, probably themost subtly composed and adroitly acted sinceJamet visited this city. Edouard de Reszkesin comparison was commonplace, and whilePlangon was indisputably superior to Mr. Mar-coux as a singer, his dramatic conception wasnot so vivid, picturesque and varied. The. VANNI MARCOUX The Boston Opera-House 399 Mephistopheles of Marcoux is at first friendly,companionable. He is evidently a man of theworld, gay, witty, as full of devices as Casa-nova, only too conscious of the weakness ofmortals. ... In the garden scene his business,whether it were wholly original or derived inpart from that of Faure, for years the greatFrench Mephistopheles, was singularly effect-ive. . His invocation was not roared, norwas he melodramatic in his handling of thehesitating Faust. . His finesse in vocal nu-ances was fully displayed in the serenade. . .Mr. Marcouxs mockery was sinister, not bois-terous. . The features indicated were onlya few in a performance that should be carefullystudied. Perhaps they were the most salientin an impersonation that was engrossing frombeginning to end. Mr. Marcoux s voice is
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectopera, bookyear1912
