New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1885-02-04
MUsIC-'rHE DRAMA.
sDIE wALKuRE.,

poan Orera House recognize not only the prvudsso
achievement Of Dr. Damrosch and his artists but also
the most significant IN the recent museal
history OF America In marked degree the representa-
tons stand for the artistic ideals which tas nsp-
ton Of the new departure In operate undertakings
shown by the substitution of German artists and German
works for italian artists and Italian works ct the fore.
most establishment devoted to the lyric drsma in the
United States We not inclined TO attach much
Significance to the simple fact of this substitution
some do We know that 1t was bought about by
bnation Of circumstances which were looked upon
unfortunate rather than otherwise, and that did noe
represent deepseated artistic feeling but only mstsr
Of expediency. Nevertheless tho has brought
face to face with the fact that measure Of artistic and
financial much greater than the most ssDgaine
champions Of German opera had dared 70 hope for has
crowned the hastily protested and veniuresome under
taking Putting asde therefore, the purely factfffo
elements which have contributed TO this result enough
remains to justify serious consideration of the rotation
which the enterprise bears toward the art tastes and
musical incnatious OF the people Of this city and
country.
Nothing that has been done at the Metropolitan Opera
House furnishes good point from which to view ths
question the production Of Die Wakure" In
essentials the performances OF Die waure" which We
permitted to meet all the requirements Of the
author; find In them complete exemplincation
OF his art principles. This being how does Die
walkure present itself to American audience We
that in general way, ut least the story OF the
drama and the meaning of its Incidents with relation to
the Nblung tragedy whole are known and UNDER
stood. The elements IN 1t which attract believe are
almost balanced by those which repe We do not mean
this be In criticism of the drama Of art nor
OF the people who witness It, but only OF the drama
relation to the people As an axiom OF general
validity 1t Is accepted that art Is not national but
universal yet the most obvious Characteristic Of Die
AVakure" is Its Teuonsm. In its language Its spirit
its characters its symDosmin short In It's ter and
"a
Who in his vices well his virtues. was tyre
OF the race from which he sprung The most striking
elements Of such production are foreign to the Amer.
lean people. AS the spirit OF the piece roots In the Ger
heart, its form rests the German tongue. II
designed that this should be wagnsrs aim In all
he did to reanimate national art spirit Germany
All the rest of the world he omitted from his consideration
Those OF his dramas IN which he carried out his prin-
cpies intheir fulness inconceivabe In any other
language than German, and complete appreciation Oh
them is possible only for the German people as people
of recognition OF this grew all the elements OF his
syle His system OF dramatic defamation rests on tho
genius OF the German tongue He put aside the Italian
bel can not because he did not perceive Its beauty but
because the German language Is too harsh for ford
music and CT throats not flexible enough to ex-
fhe meuous melodies which are the natural ana
proper vehicle OF Italian words In this he does no more
than recognize popularity that has always marked tho
Teutonic races Strength before beauty, ruthfuness
before conyention,-these are the German ideals In
everything and Wagner has cxemplifed them. Hence
he prefers ALTERATION to rhyme thus getting back to an
element OF that primitive poetry which Macaulay tells
best also he has few lyric moments In his
dramas and those only where they come a natural
expression ecstac state into which his characters
have thrown las the OF Segunds love song
aud the succeeding duet and Woans farewell TO BN-
he and hence also his melodies have the ruggedness
OF the lines of which they supposed to grow
Then to understand his dramatic music must become
pl with
for the principle formal beauty has given place to
a new principle OF CHARACTERISTIC beauty; AMI such
c the san BY S
Here Is TIE iirst great obstacle In tne way
Of the patrons OF the METROPOLITAN Opera House They
cannot listen TO t as they can to tue equally unin,ei.
Musical pecss have beauty which the
pay sometimes heghtens and never harms In sDie
.u ak .S & Is hue a.ic The IN turn
whole The oTcnesrs Is no longer the
instrument OF the voice, It has equal rights with It. In
Il has become par erceeee the eTpostor Of the drama
In higher degree Inan the words the mrsio q tas
and the viii concerned in the drama y anods a ,ns
personages and lays bare the hidden mysteries Of the
plot aud But u ,h 20 Tea9G It's s% s as
been male on the part OF the majority Of orerasoers
in this country II Die galkure" l. to receive such
those who near It must the meaning which Wagner
has attached to at least score OF short but plastic ne
sentiment or idea OF vast Significance to the play
lie not only be able to recognize these phrases
their relationship the wherefore OF certain resem-
bances between te and the purpose OF their introduce
other The characterization people sulaliesS
part OF their MISSION yet shotsghted people think
1t Is all. AS matter OF fto the system under wnca
so-called leading motives are employed Is among
the profoundcst OF Waguers creations kno siedge OK
tho system aud general standard Oh musical culture
sufficient enable the listeners to follow the music ana
dissect II strikes the ear 10 more than can
fairly be expected OF an American public at the presens
time.
Again the morality want OF morality, in the drama
1. peculiarly repugnant Eaglish-speaking peoples.
The incestnous love OF Siegmund and Sgltnde ce!e-
braed by Wagner with the whole force and ardsr Oh bis
genius finds no paation here II might among people
accustomed viewing the story In ITS deeply poetlea
s ha to cay that L Is relic Of the mythical age and
must be taken in It's symbcal meaning as the union Of
drama the vvdness Of the characters In their purely
human aspect. precudes such yiew Besides Wagners
calls for hurried fall OF the curtain lest the senses
well the feelings be shocked banishes ali thoughs
Bit in spite OF these things the drama is witnessed
nightly with altcrng interest aid oubursfs OF honest
enthusiasm follow every climax in the action and music
Why this should merits the same careful consiiera
ton as the Il must a o. s ea ra%
poetry as spectacle ana as mn, , cSmPosH
tne piece with charm which is absent from the
hEest OF their other representations Ihe Stage potuo9
eapons Of tho personages are faithful reproductions Of
archaeology has preserved Tor US from tne p sons
the depth and scales the heights OF human feeling and
contributes marvelousy efficient factor 10 the scenic
rrate must feel that the composer filled with such
conception of the dignity and beauty OF MS niss,ca
as creative artist as met with only IN tho rare so
who work for all Tine
UNION SQUARE THEATRE.
This house, which was closed last night, VIII
be reopened this evening for the production OF PTS
oner for Life" This is romantic drama. In hve acts