Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-05-25
WAGNER'S EVENING,
Selections From LOhengrin, Tannhauser,
Die Walkeure and Die Gotterdam-
merunR-A Grand Duo by Emma
Juch and Jules Perotti.


The heavy rainstorm just before the con-
cert last night caused many auditors to be
late enough to miss the "Lohengrin" pre-
lude and Miss Juch's singing of Elsa's
dream. Their disappointment may be miti-
gated by hearing the opinion of one most COM
petent judge, who was on time, that the high
tones of the divided violins were sadly lacking
in that crystalline purity upon which the most
characteristic effects of the prelude depend;
and that Miss Juch did not sing the lovely
dream last night in anything like the admirable
style that has won her past triumphs in the role
of Elsa.
The orchestra had warmed up to its work by
the time it reached the "Tannhauser'' bac-
chanale paris version). that extraordinary
orgie of orchestration which Wagner paused in
the Jockey Club men might have their precious
ballet, if they would come early enough
to see the first act-which they did
not do. The succeeding duo between
Venus and 1dnnhduser was also immensely
expanded for that Inflated Paris productions; a
fact that last nights audience had no cause to
deplore, inasmuch as Mrs. Lehman -Kalisch
took part in it. Yes and Paul Kalisch, too.
For the ''Lilli-putian tenor'i-as Won Buelow
called him-rather belied the title last night,
developing an unlooked-for vocal power and
trophe to the queen of love. Mrs. Lehman
Kaiisch proved herself the queen of song as
well. Not only in the fiery declamatory lines,
but equally In the sensuous, yearning, glowing
lyric passages in which this version abounds
tout of Difference to the Partisan taste, no
doubt), she gave an altogether satisfying in
depreciation.
The wondrousIy rich and poetic scene between
SieoLilde and Sfeonlund from the first act of
"Die Walkuere'-a scene that completes with
the bridal scene in "Lohengrin" for first place
among Wagner's love duets-was intrusted to
Miss Juch and Mr.. Perotti. The latter sang the
notes correctly, and his tremendous tenor
was distinctly audible throughout. He
Sme too But wagner pa much nj gDt iDto that @
scene that Perotti could not and did not bring
out. Miss Juch seemed to make un-
usual effort in,.ppros in producing the stronger
Ninth Symphony quartet in the afternoon may
have reacted unfavorably upon her voice. She
sang, however, with much dramatic spirit in
narrating the story of the magic sword, and de-
veloped great tenderness and intensity in the
subsequent amorous passages.
Mr.. Emil Fischer's noble-Joned voice Ia bass
of unusual richness in the upper register as
nifed, yet intense, style impaired great effect
iveness to Wota1ls farewell from the same
portion of the Tetralogy. 1t was the best
is saying much. Mr.. Seidl, also,
succeeded in inspiring his players to pitch
that made the magic fire music a particularly
satisfying performance. though be did allow
motive SO powerfully as to completely drown
the sinuous wavy figure of the violins repre-.
sentatives of the licking flames
The same fault was noticeable in the hand
ling of che Walhalla motive in the incompara-
bly, majestic and heroic, though somber funeral
march from ''Siegfried," which in most other
respects received one of the noblest interpreta-
Kalisch preceded the march with
feeling and generally appropriate delivery
of SiegfrteGS last utterance. Mrs Leh-
mann-Kalisch closed the evening with won-
noble tOuclinp hero
tion of the sublime scene wherein Bruenn-
hide immolates herself upon the funeral pyre
of her deliverer and lover-which is at the same
time the knell OF Walhalla whereon settles
down finally the twilight OF the gods.
In the single partly choral number, the
march from ''Tannhauser" the chorus singers
did some of their best work, the sopranos
especially distinguishing themselves, though
the middle parts were quite inaudibie in the
divided passages and the mems choir rather
shaky here and there. C.W.S.