National Republican. (Washington City (D.C.)) 1872-1888, 1875-04-22
ADJUSTMENTS.
me national Thestre-The Talisman,

The National Theatre-The Talisman.
The production Of the opera Of 1.-THE Talisman''
last mig hit at the National theatre, and for the
nrst time in the capital Of the United States and
by the most distinguished of American prima
donnas, and before an audience transeendant in
culture, fashion and numbers, demands elaborate
notice. 1.-THE Talisman" waits" the student in
history and art back
"Far, far along the stream Of time
To other men and other days,
The men and days Of deeds sublime"
1t recalls with infinite power aud grandeur the
great story Of the Crusades-the time when the
Christian nations Of Europe, in the eleventh,
twelfth and thirteenth centuries, sought by
arms the recovery OF Palestine from Mussulma1l
control. The Holy Land was among the earliest
Of the conquests Of the Saracene, and old records
tell us that the Caliph Omar plantedIhis Veto.
rious standards over the hills Of Jerusalem A. d.
637, and after him the most famous calIph in his
line, Haroun al Raschid, conveyed the keys Of
Jerusalem TO his renowned Western cOtempo-
rary, the mighty ChRrlemagne. By this act the
Holy Sepulchre and the Church Of the Resurec-
tfOn passed into Christian control. This was con-
tinued until the tenth century Wheh the Egyp-
fanatic, and commenced q system Of persecution
against the pilgrims. AFTER him, however, the
former condition Of things was restored, and the
pilgrimaRes became more numerous than ever
before. The invasion Of Palestine BY the SelJook
Turks resulted In its conquest, and by them
the pilgrims and resident Christians were treated
with every possible indignity. This fact created
intense excitement and fsgs thTOgghOGt Europe.
tine Emperor, appealed to Gregory VII for as
sistsnce. He in turn, urged war upon the Turks.
At this time Peter, the Hermit, had been an
actual observer in Jerusalem Of the lndlgnIues
practiced upon the Christians, and becoming i'm
pressed with the idea that It was his mission to
deliver the Holy Sepulchre from the power Of the
inndels, he began the preaching Of the crusade
II, ana soon after this the orders to commonwealth
war were believed to have been issued from the
should wear on their breasts the cross. The nrst
priest who took It was the Bishop Of Puy, and the
nrst civil prince was the Count Of Toulouse. All
crusade ended in the establishment Of Godfrey Of
Bouillon as Prince Of the Latin kingdom Of Jeru.
salem, 1893. In an article like this the history Of
the Crusaders cannot be pursued. Suffice iE to
say that Jerusalem was surrendered by the Chris
tiRns to Saladin in 1ls7. The third crusade fol-
lowed. The Emperor, Frederick BarbarossA of
Germany, Philip Augustus, King Of France, and
Henry ii, King of England, took the cross, Henry
died in 1852 and Richard took his place. Accord
ing TO Sir W alter Scott he was "hindered by the
jealOusies Of the Christian princes engaged IN
the same enterprise, and the Ofense taken by
them at the uncurbed haughtiness Of the English
his brother soyereigns, who, bis equals in rank,
were yet far his Interiors in courage, hardihoOd
and military talents" Under Richard the fourth
Seott's story Of THE fRlisman, opening with a
splendid description Of the "Warlike pilgrim"
Sir Kenneth, and his fight in the desert with the
adieus OF Saladin and Richard Occur de Leon
affords the brOsdest groundwork for the librettist
striking, as Tor instance, the scene OF the tear
ing down OF Leopold's banner on st. Georges
Mount. The music, though, is the main thing,
and what We have to say about II NAV be better
appreciated II we recall for a moment an item or
two in the history Of Michael William Balfe He
was an lrishman, born in Dublin In 1908. Early
IN life no was noted for his musical ability, and
as early as eight years OF age played the violin In
public concert. In 1925 he went on the stage
and was celebrated for his rich baritone voice.
He soon became the prOtege of Count MaEEara,
who gave him the advantages Of the best musical
masters Of Europe, and his FIRST real success was
as Figaro in the Barber Of Seville" with the
be made an attempt OF management and failed
He then applied himself to composition again, and
produced the Bohemian Girl, Daughter Of 81.
and others, and while he regarded THE Tails
man" as his best work, It was not produced dur
ing bis life time. tits certainly his most am bilious
that he undertook a task quite beyond his ability
to properly accomplish. He stands below In the
race while bis subject rises above the capacity OF
his genius Ike ragged mountainous so diff
cult TO scale that II might we'll appAl the tremen-
dous compass and power Of composers like Wag-
ner and Rossint The music lacks depth and
grandeur. 1t contains Il is true, certain nue. pas
sages but In no scene is It Of sustained strength
and cohesion, and 1t is simply marvellous how q
could omit the many grand opportunities Afforded
him fol the production Of sublime, beautiful and
startling effects. The author Of the pretty "Bo-
henisn Girl" was certainly out Of his sphere in
attempting to write suitable music for q subject
50 full Of natural strength as THE TalIsman.n
He has to deal with the psinims, with irwin
chile knights, with mailed warriors with ladies
Of royal blood, with the sacred ideas Of the
Church, with the: ferocitye CT Turks and with the
romance and hearts OF women. Sweet jinglinE
ballad music cannot meet the requirement OF
his theme, nor viii their notes adequately robe
his heroic subject. His purpose was Q grand
one, and his attempt sublime in every point Of
ViRW lint his anhiRV h N he ms d,lI
and unsatisfactory. The wealth and resources OF
the organization, the grand scenery and magnin.
tgmes and thS great by Of RISE SsT. SGs
Kellogg, most prudently and ably assisted by
artists Of acknowledged power, ali combined in
opera ana IN xnR NINA or t 81 sae
d1ence pictures Of richest colors, and memoirs
that win be forever pleasant.
TIE lofty genius OF Sir Walter Scott the tran
seendent beauty, the everlasting strength OF his
Imagination, is revealed In the opera and felt IN
every scene. His heroes and herolnes are before
US, and however shorn Of their power by the
hbretttst, however unappreciated by the com
poser, the great talent Of kellogg, Of Beaumont,
OF Carleton, Comfy and Mas relnvests them with
something like original strength and personal
quality. This Is not the only case by any means
though one Of the most conspicuous, where the
SUCCESS q an opera depends upon It's surround
music assigned 70 Edith Plantsgenet as written,
ls as inferior TO Miss Kellogg's powers as Q reed
pipe TO an organ. In execution she has richness
breadth, AID very often q captivating novelty
but in this role she is bound, hedged in By the
s small conceptions Of her composer. This was
cOmeth the nigbtfall, but at the close Of the
duet in the second act between Edith and Sir
k E miss Kellogg created q grand fErOre.
She far surpassed the Ideas Of Bale, and quite
equsled her choicest efforts in other roles.
The enthusiasm knew ne bounds and she was
recalled Jour times, and from all parts Of her
fashionable audience was sent mp royal bou0uets
Again, In the thirI act, her air of URadIant
splendorE, love-lit, sparkling" was particularly
the gorgeous scene OF the crusade feet and the
embarking hosts for merry England,n She
proved throughout the superiority Of her genius
and skin over the creation she was called on to
interpret. We have spoken Of Bales lack Of
Imagination in this composition. The chapel
scene could be made most memorable, even awe
inspiring. The picture Is perfect but the process
sopal, the hymn and the chorus are poor Miss
Kellogg can reconstruct the scene, add something
70 It and make 1t exceedingly beautiful. As It
stands, II is not commensurate with the subject,
1t 10 part Of the romance, and Is not created
ior the simple purpose OF giving Edith Plantage
nst an opportunity TO throw Hover at the feet
o. Sir Kenneth, nor yet TO allow him 70 sing his
lovely song, closing the act. The scene on st.
Georges Mount and the tearing down Of the
A1sSsS banner sGsrd opportunity for grand
martial music, but they are scarcely recognlIa-
BILE. Imagine Meyerbeer, Rosslni OF Wagner In
uIe at this point was too apparent. There they
"England's staunch Lions,
The Lilies OF fair France,
And Austrta's valiant Eagles"
The situation most momentous Richard worked
up TO uDRovernable rage, and the interest thrill
ingly intense, but where was the orehestratlon?
W as II presenting any adequate complement OF
strength Certainly not. These are our impres.
sions from It's first representation here. They
may be modified by subsequent perIormances but
now the idea prevails that 1.-THE TIlIsmann will
lot take high rank In popularity We cannot
close without again referring to t6e Solendor OF
the scenic effects. They were indeed grand and