D'Annunzio, II Idolo

No one, not even Premier Mussolini, is perhaps so much the idol and spoiled darling of the Italian people as Gabriele d'Annunzio. His brutally successful amours and the beauty of his poetry captivated them long ago. His capture of Fiume fired the awakening Nationalism of his countrymen to a pitch of frenzy at which he became almost deified. Last week there occurred a striking demonstration of the passionate esteem in which he is still held.

He descended from his luxurious retreat at Gardone to Milan, there to witness the Italian premiere of his highly sacrilegious opera, The Martyrdom of San Sebastian. The opera was explicitly barred to Catholics by the authorities at Rome after its French premiere in 1911. What of that? D'Annunzio donned the uniform of a General of the Air Service, caused his valet to obscure his chest with medals, and strode to the performance. With complete assurance he had caused it to be presented at La Scala, the leading theatre in Italy, with a seating capacity of 3,600. Despite the Catholic 'persuasion of most Italians, La Scala was jammed.

As a counter measure, three of the principal 'churches at Milan held "services of reparation" for the performance. Cardinal Eugenic Tosi delivered a sermon of warning against it. Finally processions marched from the various churches to La Scala. Kneeling just outside, the devout prayed. Within the great theatre a most curious state of affairs was remarked.

Despite the flaunting settings of the late scenic designer Leon Nicolaievich Bakst, the audience kept its eyes upon d'Annunzio and off the stage. Mindful of the warnings of their priests, they listened to the Debussy score as little as possible and almost completely ignored the singers, among whom was Madame Ida Rubinstein of Paris. Only when an opportunity to cheer d'Annunzio occurred, did the audience seem in the least at ease. It rose time and again to acclaim him. . . .

Next day the confessionals of Milan were reported "quite overtaxed."