New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1884-03-11
MIrsJC AND THE DRAMA.


, Putting aside the question of the wisdom Oh Sc
.c,,ng Thomass Amleto" lit is best not to call 1t
Hamlet ~ for the OCCASION the opening perform
ance of the spring season of Italian opera at the
Metropolitan Opera House last night can Do Iookeu
upon rs an earnest on tue part OF Mr. ABBEY 'hA'
the end will crown the work of his Drei career rs
an impresaro. Certainly in the oriiiancy VI 'no
stage decorations and the careful ana ih'eneeh'
attention 10 details in all departments OF tue ep'o
septaton, there was no appreclaoie dlnerehco W.
tween this nrst night and the memorable ilght last
October when be began that career Win ioi'S
aims and determination not TO let the ordinary
considerations which veX the souls OF timd mana
gers divert him from them On tie part of the pub
Inc there WAS manifest reciprocal spirit OF kindly
interest and cordial appreciation. The orchestra
chairs were rather more sparsely tenanted than
usual in the height of winter season. but there
were not more than half dozen empty boxes IN
the three tiers and the occupants of the rest were
brllant in dress and amiable in mood. hearty
welcome greeted the artists. and applause was be-
slowed generously upon their performances when
ever the music or action appealed to popular
emotion. 1t was the fault of the opera that these
occasions were not more numerous
HAmeto" had the merit of comparative novelty
20 commend It, and it also presented Nine. Sembrch
IN q new role. so there little INCLINATION to
quarrel with the choice of the piece but Its merits
do not extend much beyond the element OF novelty
unless we are willing TO concede that AN opera de-
serves to remain on the active list for the sake OF
one scene. Such anomalies were not uncommon on
The lyric stage while ago. and might be perpetu-
Rted even in the Metropolitan Opera House II the
willingness, shown in the early part of last season,
to accept a single tenor note a single air COM
passing an artistic performance. should he kept
alive. Fortunately, however, that phenomenon
was of short duration. But d" Amleto las been
tried here before and found wanting. Mime. Nilsson
the original representative of its heroine appeared
In IL here fourteen years ago. when she was ifesn
from triumphs won in Paris She and NJ taure
had been the life and soul of the opera when Mr..
Thomas first brought 1t out. and the world knew
that in her the composers ideal had been realized;
nevertheless New-York Opera-goers would not
cept a work which seemed wOfu spOliation of
one of the literary treasures of all English-speakng
people Two years ago Nine GCrsteT essayed the
part of Ofeba in of the partl-colOred perform
ances which brought Mr.. Max StrakOschs ventures
ia Italian opera end, but the public refused to
be reconced by the brlliancy of her vocaliza-
ton aud the tenderness of her mpersonaton of the
fair unfortunate. Now in turn Nine Sembrich has
tried to rehabitate it and failed far the opera
itself is concerned although her brilliant efforts last
night reelected great credit upon herself.
The fact is that neither the English nor the
American people are likely ever to find pleasure in
al operate perversion Of any of shakespeares
tragedies Their attitude in this is akin to that of
the German with relation TO the offences against
Goethe. Perhaps it Is not without significance that
the offender in this opera is the chief offender also
against Goethe IN the presence Of the masterpieces
OF literature Ambrose Thomas and his book-makers
are without bowels of compassion. In "MiguoD,"
however they are happier than in Amleto, for the
story of the poetic and mysterious child Of the
IL. iel Ii. Hrvr,r.A in
sWlhelm Meister has excellent operate
chinery while " Hamlet" has none. to say nothing
Of the essence of the plays being far beyond the
capacity of music a medium OF expression. We
may smile to Hamlet is the role OF a conventional
singing lover, but we know that in everything
winch makes him Hamld he is forever shut out of
the lyric drama. Ii his character Is to be expressed
It will only be in the manner in which List has
tried to delinoate EGust-in purely Instrumental
music. And then the hOod-gates Of controversy
will have been opened.
One scene In Hamlet has lyric propriety, and
whatever degree of pardon NJ. Thomas deserves he
has won by his treatment of this scene. 1t is the
death of Opheli0 which the composer has made the
gem of the opera and one of the lOveest pieces Of
music which owe existence to his talent In the
tragedy the death of Opheia is related by the Queen
In lines of matchless tenderness and beauty i'll the
opera the scene thus described is actually presented
% spectacle. Ofelia sings and singing dies.
There, on the pendent boughs, her cOronet weeds
ClamDering ~ hang, eDvOus silver brokei
When down her weedy trophies and herself
Fell the weeping brook Her clothes spread Wdei
And, mermaid like, awhile they bore her up;
Which time she Chanted snaches Of old tunes,
As one Incapable OF her own distress,
or like creature native and inducd
Unto that element
The poet drew the picture for the musician, and
he, by excellent use of plaintiYe Scandinavian
badences, filled it with lovehest color. Here
the climax of last nights performance
OF that performance, since it asked little of any,
body except MnIe. Sembrich, Mime. Scalchi and
Herr Kaschmann. IL is not necessary to speak ut
length. Ofelia Is not an inpersonatiOn
comparable with the rest OF Nine Sembrichs list.
Ut is lacking some what in idyllic grace, in tender
mess. and poetic variety, but yet 1t is a
notable performance, ch has III its
pal part the highest gree of skill aud
penituds Of beauty. Nine. Scalchi.
with an easier problem TO solve. made a Queen that
could not have been improved, aud established her
sell If the establishment necessary at this late
day, a cOutraltO singer who comes nearer than
any other to filling the vacancy lett in music by the
retIrement of Mrs. Annie Louise Cary Raymond.
Herr kaschmann ali of the character which
Barber and Cares book aud NJ. ThOnas's music
make him but nothing more. More ought not 10
be expected Madness is not 10 be feigued in music,
and the mOnOlogue on suicide has no more accents
IN music than the philosophy which is the basis of
the tragedy N. Anglers Ghost walked and talked
like the conventional Ghost though he dispensed
with the usual mosquito bar Obb6gaO.