The New York herald., 1876-10-23
WAGNER In ENGLISH.
Production Of der Fliegende Hol-
lander" in London.
CARL ROSES LATEST TRIUMPH.
LONDON. Oct. Q. 1870

LONDON, Oct Q, 1870
An event Tor which the London musical world had
been impatienty waiting has arrived at successful
accomplishment, and by the production Of wagaer's
"Flying Dutchman," on the Sd inst, at the Lycsum
Theatre, for tho nrst time in the English language,
Mr., Carl Rosa has the latest, and assursdy the
greatest Of the many which have attended
him since he first welded the conductors baton Tho
emphatic verdict which given last Tuesday night
by house crowded from pit TO DOME was cminently
gratifying, not only to The jealous and energetic
presario himself and to his artists also those
who long to see nrmy established in England tho
glorious works OF tho master with whose name all
Europe has this year been ringing To the admirers
Of Wagner, fsw as yet in England though they may
be- she wonderful which attended tho splendid
representation OF the "Flying Dutchmann is a most
welcome sign that their hopes In fair way
OF realization. Mr. Rosa has, indeed, placed
all lovers of dramatic music Under deep
obligation. 1t required no little pluck aud
determination to undertake a task OF such
immense dinlcuty and expense is involved IN an
adequate representation of this great work,
pecialy as six years ago the resources of the
Royal Italian Opera could not command success, tho
piece having been Withdrawn after two representa-
tiona II was happy thought of Mr.. Rosa's to pro-
ducc, In tho same year which marks the zenith of
Wagners fame, one of his most beautiful, although
earliest creations and he will certainly reap tho
ward which his energy ana forethought deserve. Il
may be confidently predicted that those who havo
allowed their judgment TO be swayed by the English
critics who attended tho Baireuth festival VIII be
most agreeably surprised when thoy witness the
performances of the "Flying Dutchman" at the
Lyccum Theatre. The opinion OF English musical
critics appears to be almost unanimous that Wagner's
later works are, from musical pom, Of view interior
to those written at the commencement Of his career
SCHOOLS MUSIC.
To use word generally applied to some OF the old
masters of painting, they assign to him two 'man
ners''--the melodious and the unmelodious, both.
however, sharing In common extraordinary dramatic
ability Be this as mayand the assertion Ia stouty
contested by the wagnerites--thero DO but ono
opinion to tho ''Flying Dutchman." critic
says:-"At the time when Der ficgende Hollander,
written Herr Wagner was dcvotng his extraordi-
nary talents and energies the composition OF music
IL Is true that in this great work he is sometimes
daring and careless OF those laws which all who love
the OF Beethoven and Mozart must obey; but as
rule while there great deal 10 call for the heartes
admiration 1t is very rarely indeed that the atrocities
aud absurdtes perpetra,ed by the Wagner OF to-day
family disclosed. In this early and splendid
work regard shown for musical Modulation Is
skilfully employed. Tonic and dominant are allowed
what is usually considered their just duo When q
keynote islwrittcn at the beginning OF theme 1t is
really intended 10 signify that what fol-
lows ia in tho koy indicated; vocal phrases
tho rule and not the exception" Another writer
says:-''Mr. Rosa has shown what Wagner once
lie has invited us, after having looked on that
picture DER Ring der Ni6elungen) to look this to
compare or rather. contrast, the prescntments not
Of two brothers, but of tho same On tho one
OF. tbn
1876 We regard them with asonishmcnt, and are hall
disposed to question tho their identity, little
have they in common. Looking at the music of this
opera we are Impressed before all with sense Of
power. There may not appear that Titanic grasp Of
every resource which, in Wagners later works. almost
reconcilcs TO the principles which our judgment
condemns, but from rst to last conscious that
the composer is master OF his subject and that,
whether he deals with the gloomiest elements
OF the legend or with the prattle Of women,
he has equally at command the means OF full and ap-
propriatc expression" The immense audience Of
Tuesday night sho end Of act and Of tho opera
fairly shouted its applause.
WHY THE OPERA WAS WRITTEN
The opera Of the "FIying Dutchman" owes It's origin
TO a voyage from Riga TO London, made by Wagner
soon after the productio OF "RienzL" This voyage
lasted noarly weeks fearful having driven
tho sailing vessel up the Norwegian coast and 1t
was hero, as he says, 'am,d the raging storms and
conflicting waves. the gray northern rocks and the
curious life board ship that the ancient legendary
figure Of the Dutchman gained physognomy and
color" From London tho composer went to Paris
and there proposed TO the directors Of tho
Hrand ins pu.cSman," % With % a French tex. for tho
music The consequence was that although
the music was rejected the idea wa was stolen, the
to another musician, NJ Dietch, whose version brought
out in 1912, it is somewhat consoing TO remark,
speedily disappeared forever. Wagners music, how
ever though II struggled for hearing, has lived 1t
was performed under his direction at Dresden in 1843
when Nine Schroeder Devrcnt took the part Of scnta
Ii was atcrward given Casscl and Berlin the per-
formance at the nrst mentioned place having been
brought about through the efforts OF spohr. tho
only German kapellneiscr, who up to that time had
supported the struggling musician of the future AT
present tho sFlyIng Dutchman' enjoys In Germany
popularity only second to that OF ''Lohengrin" and
and enthusiastic reception in Eng
sh dress in London is assuredly event. not only
tho history OF tho composition, but of It's gifted com
poser.
The story ofthe 'Flying Dutchman" Is too well known
to need repetition. Suffice IL TO that Of tho several
versions OF the legend, that adopted by Wagner Is by
far the beautiful and poetlcaL IL Is TO Heinrich
Heine that the composer is indebted for the beautiful
idea OF releasing tho accursed Dutchman, condemned
to eternal wandering on the ocean by means Of q
womans faithful love. As In all his other works. the
story and the music together; they are, IN fact
inseparabe. The magnificent overture Is itself dcs-
cnpive Of the whole story, and prepares tho mind for
what follows
OPERA AT THE LYcEUM.
The rising Of the curtain discloses 10 US the rock
bound coast of Norway, tho Bay oil Sandwike. The
vessel OF Daand, Norwegian Mariner Is a. anchor OF
the sforc stretches away to tho horizon dark
gloomy, and Iashcd by violent tempest which has
driven tho ship 10 this place, thirty miles away from
the havcn to which she was bound-tho captains
home The Norwegian sailors taking in sail, land
storm In safety, their cheeryN.Yoho Yo-ho !" rising
ever and above the bowling wind and dashing
waves. The captain Is on shore, and In some
prcssve phrases aments the III luck which has driven
him from his and withheld his beloved daughter
scn,a from his ycarning arms. Returning board
hc adjures the helmsman not to sleep at his watch
and goes below. There follows now one OF tho most
braufui songs OF the sea ever written The storm Is
subsiding, and the hclmsman, in tho middle OF his
dilty is by drowsincss and finally falls fast
asiccr.
TEMPEST
now recommences, and while the orchestra is playing
somo magnificent ana weird phrases, the "motif" OF