Those who have heard the San Cario Opera Company in any of its productions during the past week have been greatly impressed by the conscientious endeavor of the group of youthful singers, who have been playing the various roles. To a great extent, these people are young artists, striving for recognition through hard consistent effort, and their work thus far shows clearly that many of them are likely to achieve something really worth while. For the most part they have been singing pieces well-known to the musical world, such as "Carmen" "Riggelatto", "Faust", and "Aida". In these they have done admirably, giving to each classic a treatment worthy of singers of the highest rank. Besides the works, with which American audiences are better acquainted, they have put on "La Boheme", one of Puccini's greatest masterpieces, sung far too seldom on this side of the water, and more recently "La Forza del Destino" by Verdi, an unusual product, which has only been sung twice in Boston. The latter in particular shows that the company is not content to tread the ordinary paths of operatic routine. Discarded compositions of other days that have merit in them, they seem willing to bring to light, and this revival of Verdi's early effort, has great value, particularly to the student of music.

Although in such cases, only too often the expended effort will be found not worth while, still there is a need for such relentless search of the dust-covered librettos of the past; for there in many cases will be found music and plots of a very high order that will give pleasure to a modern audience.

"La Forza del Destino: unfortunately is clumsily put together. The plot is dull, the music to a great extent uninteresting. The revival was entirely justified, however, by two exceeding impressive pieces of composition. The overture, which preceded the prologue, was a gloriously romantic combination of contrasting motifs, which in itself told the story of the opera, more interesting than the piece itself. The second act, a scene in a monastery, was both musically and dramatically effective. The composition here was in Verdi's more religious vein, and this, through the medium of a well trained chorus was presented most satisfactorily.

It is a tribute to the company's ability that it held a packed house until long after eleven, through the two final acts of very tiresome music and action. The singing of Miss Saroya, who played the leading part, was inspired, in spite of the fact that heavy demands were made upon her voice; her acting was ever convincing. Her performance in this piece, and as Mimi in "La Boheme" mark her as a young singer of great promise. Her voice is unusually pleasant, her acting effective, and what is more, she is gifted with a great personal charm, rare in operation circles.

Mr. Tommasini as the romantic lover, soldier of fortune, and priest, sang his part attractively but gave in his action none too vivid a characterization, a week ness due somewhat to the libretto. Messrs. de Biasi and Cervi in their monastic roles were excellent; the former's serious bass contrasting pleasantly with the latter's jocose treatment of his part. The orchestral support, under the direction of Mr. Knoch, was, as ever, excellent.