New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1877-01-27
MUSIC AND THE DRAMA
THE FLYING DUTCHMAN.

thing very unlike the msc-drama" OF the composers
later years. It's form does not differ materially from
that OF the conventional opera II has s due successi'
concerted pieces. II IL rich in separate num-
beers which public pampered exclusively with the
tunes Of martha" and The Bohemian Girl" might
recognize meodOus. II into the wOrldbeiore
Wagner had developed the peculiar theories which make
his hest title fame. and II is keeny relished by she old
school Of musicians 10 whom Tristan" ana "Iann-
hduser" terror and abominnton. New
ertneess the devoted followers OF Nag-
IL liz equally work OF deep interest
They in the nearly all his later IDEAS
They mud here his rst protest against the vOlues ana
absurtes OF the stage, his first dcmand for freedom IN
poetic expression. his first demonstration OF the pecu-
liar ldaptabv OF Legendary SUBJECTS fer lyric purposes
aud the FIRST manifestation OF his extraordinary power OF
blending verse, action, aud harmonious and
eloquent whole In " The Flying Duchman be did not
himself entirely from tie trammcs % his prceces-
eOra: h do discover Gc full capabilities OF the reform
he therein began; he did not rise to tie grand elevation
attained such creations LOhcngrin" and the
T,ilogy; bUt he gave scenes Of romantic beauty
which hardly anybody but be himself has surpassed aud
he sufused the whole work with the glow OF genuine
and healthy sentiment The central point OF tine
opera the gloomy and Ihc'ic figure OF the Duch cap
tain, who sails for Gvec tossing as driven onward
the he shall find faithful woman TO share
his fate and 10 bring him rest The melancholy char
acter of the story the ghtcst PORTIONS OF ihe
lualc Above he whole hangs an at
mos phgrc o storm. Tie work indeed came cut of ire
midst tempest for tells that he imagined u
while he dashed about furious gales of the North
sea But with the Music Of the angry ocean mingles
strain Of the grntlsst and sweetest fancy; beside
tho dark fsuIe Of Tai,derdecLcH stands Sena. sim
p,. trusting. innocent tie ideal OF un-ehsh love.
We have some lines thought that Of all he wonderful
types Of female character with which Wagner has en-
ricned the sage-Elsa. Elizabeth. Isolde Briinn1iide,
and the rcst$cLta though neither the greatest nor tie
most carefully elaborated is the most sympathetic and
most charming. He las told us himsclf what ne meant
ncr to be.-a modest, unaffected village girl! who has
unused over the story of the Phantom SIp until 10 has
taae possession OF all her heartnot turned her head
with sentimental dreams, bur filled her bosom with divine
compassion. So her late il he logical rud of process
traceabe IN ali her thoughts and the slight thread II
events woven the clear ana direct story Of the
libre;to leads straight 10 the final catastrophe.
The three acts into which the drama is divided are
beautiful and picturesque each In \ dIf rent way. In
the first have the bowling winds ana d'sinG waves
and the dark II the. accurscd sailor IL III pul
yea!uing Toe rest Is thrown INTO bold relief HIS mono
loguc IAe Time mas come" Wagner nobiest man
ucr lis duel with DIHd worthy sequel TO II; the
music " the sailors is all striking ana original; and n
he midst Of tGes- srnrr comes the exquisite
little dreamy iovr-soEg " the HeimsmnH, like the breath
Of Spring AMID blasts of winter. The second
act bcg.uun. with thu. familiar spinning chorus
Gas for is subject the gentle and generous emotions o
ycnfr and her drcHtc prryadcN the WUic "I
delightful poetic fragrance. In tie thir! tie c,ldN is
rapidly reached by magnificent double chorus Of sailors
and village maidcns. cavdtina f0r SehtHs lover
EyJE ard a concerted finale in which occurs superb
ircnml tory passage for gGH'rrcten In 81" c"uirr oi
the WORK mud nulue, al ady making rGr"tiv" use Oh
leading motives" and yenmrnz upon a freedom OF
style which must have seemed amazing hisi-siN years
ago: bu; he gives u, also SOME passages WHEN ml-hi
"a al ID,
hers 50 strictly conventional thG one has Difficulty to
.cvc that lc could have written them.
c performance ~ jhis interesting work. e we jua -
of 1t by sucn standards the Kellogg company has Eh
ertO given IL, ut Toast cr'litaIt ma may ne v"
have no lgt 70 measure il by muster Us ideal II.
best presentation yas Naturally Mas Keiocgs Nento,
which Wa pleasant eye and the ear, and IN the
main well conceived Perhaps she allowed the simplicity
Of Senia to DE exaggerated 70 The point CT "eahL's'
aud III scene, namely that Whrre EftH
cells Ler his vision, she departed widely from
,ac CONF ascr', directions. and instead Of falling into
n dream at liscuuz with ;Ie ra.rr lacr ~ CHILD INT
Miss Kclo-- always rao.e, 'ao strong points u ioie
and r us,l acrtene-- did not desert ncr IL Die latest
addition her repeFf"ry. II cannot be -ad however
tat the rcpresentat1n 0 the opera Is Whole was any
thing like an adequate Interpretation OF wagner
tcu,t, nor will 1t be- ap, to aud anything 10 Waenci's
pouularty. Mr Carleton VA but FAINT SHADE" OF IN
e,retcken. and MI Comfy unntero-tng Daid"d.
Tie Erik of Mr. Mas and Dhe He'nSm0n OF VT.
Turner were better The chorus was very rough
and uncertain aud orchestra. though good enough
for an ordinary opera. ;o short OF o requirements u
work Ike THIS large pat ni the !a-t act including tle
weird chorus ~ the Dutch sailors. was cut out The
mechanical effects ambitious 1Ad not altogether
unsuccessful, The DEFICIENCIES Of the performance are
the more to areutrd because MT Carl Rosa III Lon
3op ina. inst SHOWN that The Flying DutchHaH" ear be
admirably gwen in EGsish by company which II not
extrayasantly expensive. but thoroughly and ntel-
gently drilled.
Tie Academy vas crowded last nj mt and the pccun-
lry success of tc company great that IT purposes
| remaining here another week.