New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-07-15

opens beneath their feet To Arindal and the
throng Of his companions, as they stand, sui
aghast at this terrible sight, are brought by
fleeing messenger tidings Of the armys deieat 40
the hands of q hostile force led by supernatural
feminine warrior; and the messenger declares
that he recognizes her in Ada Overcome by these
shocking deeds of his wife, Arindal forgets his
VOW and breaks forth into eXecrations against
her. She is thereupon hurried away oy larry
power TO be turned into stone, but not I'LL she
has disclosed to her husband the lastly oil inc
reuort of his army's defeat-messengcrs arrive
upon the spot with tidings of the victory that IL
has gained against traitorous opponents, through
Adas power-and restored the two cmldnih'
cleansed by the fire from their mortal heritage.
The entire scene is one of great and continuously
increasing dramatic power, the choral masses
especially being managed with the most Impressive
effect The third act opens upon more vigorous
martial music, celebrating the victory OF the
army the chief portion OF which Is an ensemble
without accompaniment, OF magnihcent brean'h anu
nobility attained through very simple means IL
was Immediately recognized last evening As one
NJ the finest moments of the opera. Arindal APP
nears in the next scene crazed by the loss OF his
wife and his own responsibility therefor Two
fairies come to him in his raying, and ne is lea
by them through the subterranean terfors py
Drawing which alone he can hope 10 WIN DICK
his wife. Protecting himself by the magic virtue
Of n shield and sword which the fairies have
given him. he comes at length TO the stone 'H'o
which Ada has been transfixcd. BY the power
NJ his song given magical effect by fairy Tyre he
works the spoil of disenchantment. logeUher'
Arindal and Ada are then received into the larry
kingdom the scene Of which at the close oil inc
opera gives opportunity for one OF the most eA-
traortlinariy dazzling stage settings that modern
resources can afford.
The noem is the weakest part Of Die Feen'
and contains undeniably much that is sophomore
and almost childishly sentimental But u IS pun
together with such fine sense OF dramatic eHecU
that deal will be pardoned the literary WEAKNESS
Of the nineteen year-old poet-composer. As lor
the music the frank avowas of Wagners sell
criticism are not needed to show the dependence
he nut upon Weber. The resemblanceS can De
most easily heard in the arias, and IN several
passages are amusingly striking LortzihG has
also his share in the composition, ana IN thoIc
remote sense Beethoven and perhaps even UlucN'
Rut there is by no means lacking much of the
genuine Wagner The Instrumentation, Tor the
ace and experience of the composer, is astonish-
inglv sl,ilful; and the general knowledge
of ooeratic technique with which the
work is put together, the unity
and consistency it displays throughout, are no
less noteworthy The overture is perhaps the
weakest part of the whole; curiously, the cher
theme is one not employed in the opera Itself.
In the choruses and rectatives are the plalnest
evidences of the future masters power Inc
former, especially the ensembles, are exceedingly
vigorous. com posed with q skill and Individuality
in the part-writing well as an unerflns IN
stinct for tonsl beauty and massive effect that
fall not far short of similar portions OF " Tam
hauser" and Lohengrin7 OF the recltatlVes'
in like manner, it can be said that they sho"
their relationship with Wagners later work by
their declamatory fitness and dramatic express
siveness, which infuse peculiar vitality into
every scene in which they have any considerable
share.
The success OF the work at the close Of hist
evenings performance was indubitabie, OF ana
for itself and without regard to the interest
that may attach TO it as the hitherto unknown
work of great musician Die feen' mas 'he
ba oov Characteristic OF an ever increasing efec-
tiveness, which closes the curtain up on the last
scene as the real climax of the opera. 1t is true
that the raost elaborate assistance was given by
the ster-mechanic to the success of the work,
and that without its appropriately brilliant set
ting that success would not be so clearly defined
as il actually is to-day. The fact is no de-
traction from the interest and importance OF
the work. however, and its value as real adj
ditiOn to the repertory of living operate WORKS.
Whether " Das Licbesverbot" that other
youthful slip will also be put upon the stage
is not vet decided, though the success of Die
Feen" makes it highly probable that it Will be.
The manuscript scores of both works have oc-
casioned no little difficulty to the authorities OF
the HOftheatre on account Of the fading OF the
ink, in many cases almost complete; but piano
arrangements Of both have been prepared IN
addition to the finally satisfactory orchestral
parts that of Die Feen' was published last
week.