The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1868-12-07
MUSICAL AND DRAMATIC.
"Faust.v

very good performance OF Gounos's opera
of FduSt was given on Saturday evening. and
It is worthy of remark that the Germans, what
ever comparisons may be made TO their
vocal accom- plishments, are infinitely better
actors than the Italians. The Italian opera is
100 often a mere matter of lungs. but the Ger
man opera generally has brains in 1t rs WE'LL
II singing were ALI that we attend the opera
Tor, O concert performance, IL seems to us, s,would
answer as well, If not better; but in
the opera we have q right to expect dramatic as
well as vocal effects, and 1t will be unsatisfac
tory II the artists are not actors as well as
singers Good operate acting Is not SO common
but that we are glad to see It. even IL 1t should
be trihe overdone; and IL is al ways pleasure
for us TO hear and see such performers as
Madame Rotter and Herren Habelmann aud
Hermanns, not merely on account OF their
trills and quavers and intricaces of vocallza.
tion. but because they endeavor TO express all
that there Ia in the music as an illustration of
the characters and theme OF the drama.
Madame Rotter is not the best singer that has
appeared In the rote of Margaret" during the
past two or three seasons, although her vocal
Efforts on Saturday entitle her to hearty COM
mendation; but her performance, as whole,
was In a nigh degree artistic We might take
exception to her acting, that 1t was at times too
energetic; but then she really did act, did ex-
press, with fidelity and intelligence. what there
was In the cnarrcter Oh 'NaTBAfet,' ana, like
the "Mei histophees'o of Hermanns her person.
alton was not studied merely. from the SCORE
book, but from Goethe. Hermanns' "Meph,s-
topE eles" was great, OF course. This part he has
made his own. and in 1t he is unapproachable
While acknowledging the truth of the COM
monty arged objection to Hermanns that he
carries "Mephistopheles" into everything he
does, we would not have him less
perfect in this for the sake of possible I'M.
provemt mt in other roles Habelmann's "Fausp'
was good and Wilhelm Fprmes appeared to
advantage as "Vaentine.' His dying scene
was finely done, although we did wonder when
he was going 10 make the last gasp. But, as
we before remarked, little too much acting
eau be excused in an operatic perform ance,
when the singers know what they are about
and are evidently doing their best. Madame
Cellini. who undertook the part Of "Siebel," was
rather overshadowed by the German singers.
Some passages she execute ed creditabIy'
although her vocalizatiOn was rather uncertain,
and she acted not ut all.
In many instances that which cannot be well
done had best not be attempted In the case
under conside ration this remark Will apply to
the tableau representing the apotheosis o
Margaret" with which the opera of Faus
concludes. The dirty looking clouds painted
on the back OF a fat, with all the framework in
sight, are not calculated to leave a favorable
impression on the minds OF an intelligent au
dience at the conclusion of q performance
Such a shabby affair as the tableau exhibited
ON Saturday night would bring dlscredit
on third. class theatre, and 1t was
dsgraceful at such an establishment as the
Academy of Music. We have also to take ex-
ception to the dungeon scenes exhibited last
week. In IL 1roUatore and FideliO the flats set
for the dungeons were painted to represent the
corridors of a castle with courtyard attached.
where the prisoners might step out and get the
n esh air whenever they felt inclined; and in
Faust we we're treated with the spectacle of
Margaret" immured In a dlsmslookIng
place enough, but with a gallery adjoining II
where she could roam at her own sweet
WILL with no one TO interfere in case she
should conclude TO climb over the railing and
make her escape.
We have no disposition to be hypsrcritical,
but such matters as these are not trivial or
uuimportant. AS we have more than once
remarked, the success OF the Opera Boufe was
in great measure due to the care and good
taste displayed in putting the pieces on the
stage. Every detail of scenery, costume, and
appointment was attended TO- and the mana.
gers OF the grand opera might take number o
minis from these much. abused buresques
which would be of advantage TO themselves and
the public.
Az ropos of matters TO be meuded, the follow.
ing, from the Press of this morning. SO entirely
oincides with our own ideas, that we quote 1t
at length in preference 10 giving remarks OF
our own
1--WE have been several times requested TO
call attention To the great annoyance caused by
boys selling ItbTettos in the opera Not onlS
are their shTill cries disagreeab o and distract
ing bat the boys themselves are impudent and
annoy ing. On Saturday evening a gentleman
sealed by us, who held a libretto in his hand
| VAS I'M mportuped I've several times to purchase
| another. and on remarking that he had copy
| was told, You haint got THIS one, though.
| We know by experience that they often charge
| higher than the fixed price, ana seldom have
| change. The whole system is "a disgrace TO every
| management and cOald Mr.. Maretzek realize
the com plant to which II gives rise, he
would do away with 1t. A stand outside
| where libretu could be sold to those who
really wan ed them, Dhere change could be OtUen
| honestly, and where the price for the ltbretto
| could be stated on q placard, would answer
| very purpose. Another advantage would be
| hat at such stand libretti of other operas.
| music, and photographs could be sold to great
advantage, both as regards the public and the
| management People of, en- wish while an air
IL ringing freshly In their memory TO obtain
the music, while numbers would buy the
| libIetto of the neat opera to study betim ea, II
| they saw IL advertised though they migat not
| take the pains To 90 10 a music store TO 0htRin
| about the house should be stopped.