The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1886-05-30

Nv Prayer" (Mendelssohn), sung by Mrs. U. j.
Hammond and the chorus. Miss Lehmaun will sing
Se Merto il Tue, - from Mozarts III Seraglio," and
the evening will conclude with the march and chorus
from wagners famous Tannhauser'' by the chorus
and full orchestra. Miss Lehman will sing twice at
the Wednesday matinee
The campfire will be held on Wednesday night when
General Sherman and other Union generals and Off
GERS viii be the guests of the evening
A general order has been issued by George II.
Thomas Post, g. A. R., as follows:
HEADQUARTERS
GEORGE II. THOMAS Posr, No. II, g. A.R.}
On Wednesday, June 2, every comrade is urgently
requested to meet at the hall at o'clock NJ, sharp.
to assist in escortng, from the Union Depot to his
hotel, General Sherman. the greatest living hero of
the war; In this connection attention is called to the
following resolution adopted by the post
Geo. II. Thomas Post No. IL, sends greeting to
the comrades of the department of Indiana G. A. R..
and extends cordial invitation to all visit Indian
apos the occasion of the visit of General sherman
on June e Comrades come and once more see and
greet the eade of the army from Atlanta to the
Come and join in the campfire and aid in doing
honor not only to the living but to the memory of
fallen comrades come and tell to the world that the
Union cause, and it only right that it right
from 1861 to 1866 that it is right now; that it is
eternally right"
During Wednesday post hall. corner Court and
Delaware streets, will be open, where visiting COM
rades will be welcome. IRWIN ROBBINS,
Commander.
CLAY ALLEN, Adjutant.
THE AMERICAN OPERA COMPANY.
The latest number of the Century Magazine con-
tains article on the American Opera Company,
acknowledged to be the greast musical organization in
the world, which gives two performances on Monday
and Tuesday evenings of next week, at English
Opera-house, in this city, continuation of the
Musical Festival. The article says
After of the early rehearsals of 1.-THE Tanning
of the Shrew' by the American Opera Company, q
member of the orchestra said That's splendid music;
its too good for opera. The remark shows what opera
is often supposed to bean exhibition of few stars
against insignificant background. The interest of
the performance is monopozed by three or four ar
lists the orchestra is only accessory the chorus
only bridge intervals and help things along. For
this kind of opera the elaborate instrumental music of
THE Tanning of the Shrew would perhaps have been
too good But contemptuous fiddler found out
presently that opera was not 20 be given by
the American company on the easy old PLAN
The representations under Theodore Thonlas's d.
rection distinguished for the careful in
which all the agencies of musical and dramatic ex-
preston were fitted together in organized work Of
art Parts which are commonly neglected, subor
dinate, raised to their proper rank factors in
the general result Principals chorus and orchestra
in the complex structure. Some of the individual
artists were excellent; but when we recall the per-
formances it is not SO much of Orpheus Elsa and
Lohengrin that we think of the perfect and finely
balanced combination which gave to their interpreta
tions. whole their beautiful expressiveness.
This close knitting together of all the parts-some
thing much more than usually when
speak of the ensemblewas the characteristic note
of the representations which Thomas began at the
New York Academy of Music last January. He plays
opera as he would play symphony. To him it is a
symphony OF voices and instruments The iucompar-
able orchestra the fresh young chorus always correct
sure. and in tune, the wholssassemby of stars and
-. 'ites respond to his command and respond to-
SAT- a,-.lv the well4raired band answers hi m
s as if by oneinpulse In Beethovens Eroica.' Thus
it is not only II the singing of soprano tenor that
burning with magnetic fervor. There is an eloquent
description of the proper manner of directing an
orchestral performance in the preface to of szs
Symphonic Poems" and often thought of it as
watched Thomas last winter. Assigning to each
voice. each instrument, each group of voices and in
struments the prominence and the special style Of de-
livery which befitted each at the moment, the
ductor brought out those elusive refinements of
expression which convey the changing emotion.
those subtle variations of color rhythm emphasis and
contrast which give and accent to the music
and those nice distinctions between the graces which
adorn and the broadly marked phrases which
carry its essential meaning This symphonic method
of playing opera cannot be taught by written d.
rections the musical page; it depends upon the
conductors insight, sympathy and poetical tempera
ment, together with an exceptional power of control
over his subordinates. Many intelligent conductors
who have the requisite decacy of feeling never
qure the art of communicating their intentions to the
performers, and so they fail. l.4
There remarkable example of Thomas con-
troll of the whole stage in the Invocation of the
first act Of "Lohengrin." With slight gestures he re-
strained part, enlivened and accented another,
disentangled the theme from the crowded score,
heaped effect upon effect until the swelling
orchestra quivered with sensibiity; then, lift
little by little the growing tide of voices and at last
hurled all the impatient forces together outburst
which thrilled the house. Of course this remark
able crescendo Is indicated in the score but just
think how many years we had to wait before a
conductor brought out its full splendor The Lohen
grim effect, however which was mainly dynamical
far surpassed in Gucks 'Orpheus, where Thorr-
ass capacity interpreter of great music
sgnay illustrated. The very simplicity of the music
as noble and severe in its outlines as the sculptures
of Phidias makes it peculiarly difficult of execution
Mistakes cannot be covered up; phrases cannot he
surred in Glucks open every technical imper
lection shows like great blot The poetical spirit Of
impulses which dominate the modern lyrical stage
and have formed thestyle of nearly all operatic
performers. Here have deep natural feeling in
place of fiery passion, almost religious solemnty
In place of sensuous excitement and rigidly plain
and direct mode of expression both the stage and
in the orchestra Yet the exquisite performance at
the Academy of Music true in sentiment and
perfect in execution if the American Opera Com
pany had been studying Glucs all their lives. The
York were both fascinated and astonished-most of
all by the lovely third act where the sense of repose
dreamy Tranquility ss Of beauty almost no~
ment, broods over the Elysian Fields,
and the grief of Orpheus seems to burn with a
purer light in the presense of the Happy Shades The
scene is filled with exquisite passages, all of
what ethereal character; and it does not END with
dramatic situation but fades away like vision How
wasi It not performance to bring aprima donna
before the curtain, but it left people in tears
There we saw great conducting! There we had also
earnest of the high artistic purpose with which the
enterprise seems to have taken up its work. An
American opera company which begins its with
such an achievement takes rank at once very i'm
portant institution
A telegram from Chicago says that ''Orpheus and
Eurydce which will be presented during the engage
ment here, repeated there last night to au-
dience that packed McVckers Theater and Il viii be
given twice this week. The first week of the Amer
lean Opera in Chicago has been brilliant success.
| The receipts for last week amounted to $25, 0OO
FESTIVAL NOTES.
The members of the orchestra coming from Cincin
natl viii arrive on Monday in time TO take part in the
rehearsal
| opi.e q number of the business houses are now
decorated and Others ready to begin the work on
1 Monday morning.
Delaware AMI Market streets on the west and south
of the City Hail. will be brilliantly illuminated BY