PUCCINI’S OPERA “THE GIRL OF THE GOLDEN WEST” Giacomo Puccini Arturo Toscanini (P. by Dupont) (P. by Dupont) Belasco (P. by Abbe) G. Gatti-Casazza Otto H. Kahn (P. by Dupont) (P. by Pach) Emmy Destinn (P. by White) Pasquale Amato Enrico Caruso (P. by White) (P. by White) ] Signori G. Zangarini and C. Civinni: it is, substantially, a translation, until the last act, when a scene is introduced showing the imminent lynching of _Johnson_ by “the boys” in a convenient grove of redwood trees and his rescue by the _Girl_. This scene, as I understand, was originally planned by Belasco for use in his play but was by him discarded. “La Fanciulla del West” was sung for the first time by an extraordinary cast, which should be recorded. This is it: _Minnie_ Emmy Destinn. _Dick Johnson_, (_Ramirez_, the road-agent) Enrico Caruso. _Jack Rance_ Pasquale Amato. _Nick_, Bartender at the “Polka” Albert Reiss. _Ashby_, Wells-Fargo Agent Adamo Didur. _Sonora_ } { Dinh Gilly. _Trin_ } { Angelo Bada. _Sid_ } { Giulio Rossi. _Bello_ } Miners { Vincenzo Reschiglian. _Harry_ } { Pietro Audisio. _Joe_ } { Glenn Hall. _Happy_ } { Antonio Pini-Corsi. _Larkens_ } { Bernard Bégué. _Billy_, an Indian Georges Bourgeois. _Wowkle_, his Squaw Marie Mattfeld. _Jake Wallace_, a Minstrel Andrea de Segurola. _José Castro_ Edoardo Missiano. _The Pony Express Rider_ Lamberto Belleri. _Men of the Camp and Boys of the Ridge._ CONDUCTOR ARTURO TOSCANINI. Belasco felt profound interest in the production of his friend’s opera and directed many of the rehearsals, intent, as he has declared, “to make the artists act as well as sing.” That, doubtless, was a laudable ambition,--but, practically, it is, in the very nature of things, impossible of fulfilment, whether by Belasco or another. Opera singers may be, indeed, frequently are, dramatic in temperament: they are not and can not simultaneously be excellent as actors and as singers. Sometimes a comparatively poor singer becomes, in opera, a tolerably good actor,--but that is the limit of achievement in this direction. True _impersonation_, as made known on the dramatic stage,--in, for example, Forrest’s _Othello_, Davenport’s _Macbeth_, Jefferson’s _Rip Van Winkle_, Barrett’s _Cassius_, Irving’s _Mephistopheles_,--never has been and never can be displayed on the operatic stage.