New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1886-01-14
MUSIC-THE DRAMA.
CLICKS "ORPHEUS.r

| IL would be exceedingly gratifying TO the
classic music II the success which has crowned
the production OF Glucks Orpheus by the American
Opera Company could be- taken at once proof OF the
artistic spirit animate all the productions OF
the new establishment and OF the spirit with which they
are 10 be received by the public Ii would be difficult 10
tell exactly how much Of the favor won by the repre-
sanitation due the spectacle and how much to the
| music UnquestiOnably both factors compelled gem
nine admiration and both deserved It, ballots aud
stage pictures greater pleasure to the greater NUM-
Der than music fact has s explanation IN the
nature OF things. The opera scantiy provided with
action that a change OF attitude Is almost sufficient oc
casion change OF scene, and OTphe"SS mourning
his encounter with the flres at the gates OF Hades his
meeting with ETydce, his second loss and final re-
coyrry of her. incidents each one OF which fills an
net In tho Academy representation. This being true
and being utterly at variance with existing operate
tastes 1t strange that the public should look with
special upon those features which most direct
IN their appeals the senses An attentive. inteih
gent and susceptible listener 1t Is true VIII lind many
Instances in Guck's music where two three bars will
fire tue nation and Affect the emotions more than
all the pageantry at tue command OF stage manager
but this result Is conditioned upon meet ng OF circum
stances which cannot always be controlled. In the
way OF the sympathetic relationship between
the music and It's hearers which perfect
enjoy presupposs there are several
obstacles one of these is the fault Of the Academy OF
Music whose audienceroOm is large that the instru
mental portions OF music deprived OF much or
| their effectiveness Mr.. Thomas has reverently and
wisely attempted augmentation OF Glucks orchestra
and though his string band magnificent muscular ty
the opera has many numbers OF extreHe decacy that
even the closest attention does not always insure per
feet hearing while "a to being as completely en- rapport
with the music ought to be TO derive the highest
measure that Ia out OF the question. Better results
might II all the listeners asreei rs to the
point OF view from which to consider the opera In other
all
pieces nerspersed through tho opera (tho short paao
mines aud baes which give expression to the feelings
OF the In the play are integral parts OF the
work. should receive tne same degree of attention az
the airs and choruses IL such an agreement could be
there would Dc less talking and moving abodt during
tho moments when far the eye Is concerned, tho
play seems 10 have halted.
Finally to derive the highest artistic enjoyment from
.Orpheus" one should for the time being forget the
preyalent taste for things "hot the mouth" He
should be wiling aud able To transport himself back IN
fancy ths period OF beginnings IN musico-drauatlo
comnosttion; To time when classic fables. despite
their bald simplicity yet almost the exclusive suO-
jscts Of operate representation when tho fact that
they yet glowing IN the rosy rays OF the sun OF the
enabled the people TO derive the keenest
pleasure pictures which brought the heroes
Of those fables before them; to tine when IL was lust
diwung the minds Of mnscidns mat scnsuOus
charm not the be-a and rnd-il OF operate music.
but that dramatic expression cOuld anu soui DO cun
sorted with II. Having thus prepared nimsel, nc wiz
mud "Orpheus" transporngly Deautiiu! wOrk-ohe
which VIII satisfy 10 tue ui sIriy , tH' ~, ,
melody, aud frequently hstound nun with the iorce-
~
Is the fashion OF the day among musicians VINO THINK
themselves abreast OF the times to decry Glueks
operas Anticipated. They surely are altqnatrd SO
far the concerned and tho Spasehe,s or the
Instrumentation. But the question OF moving power Is
seldom "A question OF vehicles; BerlIOl, with tre-
mcndous apparatus In his Mass for the Dead. does not
produce 1.-THE Of the awful effect that Mozart does with
his three tromboues In the finale Of " Don Giovanni
and that musician Is TO be pit sd who cannot feel the
tremendous dramatic force OF the scene between
ODbeus and the furies I'm the second act OF this opera
The short aud ohOruses which make up ths scene
are of their dramatic purposes, ns perfect rs
ANYTHING in whole range of operate literature from
{" Dafne down to "Parsiia." They need no apology
everything In them strongly beautiful and beautifully
strong from the first accents Of OphcUs plantvc song
borne ethereal harp arpeggos the eh9sm filled
with writing furies and demons, aud which are only
stirred TO deeper pathOs by each terrifying mo-"
hurled by the chOrls-from the beginning or THIS
wonderfully conceived and executed scene To tine last
chord OF OF tho furies that succeeds H. Music
ike this needs but to be heard 20 be appreciated
Those susceptible to It's charms will lind IL put
natural that Tantaus should forget his thirst ssyphns
hs labors and that IIons wheel should cease TO turn
while II Is enriohing the atmoN phere OF Hadns ~ ,
The opera has bceo piacsd on the stage taStruy, anu
fine intelligence Is manifest In all the tlbleius anu
scenes. The effect ut tho scene between OrPhehS ahu
the fures Ia thrilling aud those wbc nave hdhireu Luo
music In concert Will ind that 10 takes new ne
and from the situation. The elimination OF inc
spectacular effects however Is reserved Tor the Daet'
which IL appended to the In the Academy repre-
sentaton The poetlcal motive or the ballet 10 eiAssio