New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-11-28
MUSIC.
OPENING OF THE OPERA SEASON.

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TO the Imagination Of the reader. An audience which
crowded the magnificent that glowed with light
ana Dlossomed with gay toilets, eager expectsne,
concerning the merit OF the singers lovely en,b,,
siasm In the cimactc scenes OF the opera kesn a,
terest In the social aspects OF the affair not unm,r.d
perhaps, with that spirit Of emulation whose macL
festaon contributed much TO the brilliant h..,.
Of the scene that would not be dimmed by the r.,.
finally hearty expression. in the conventional metz
DDS Of the theatre during the performance and "a,
mated conversation between the acts OF ths h.,,.I
that, delightful the evening had been the gr.s,e
pleasure which 1t gave lay in ifs promise Of s.aso,
Of high and honest endeavor and glorious acheyem.,,
Such the features which never absent al ,h
opening OF the Metropolitan season and which ma,
be left 10 the fancy for combination and coor,ne :,
would have been strange however. after the lss,on.
OF the preceding seasons, II there had been not
able last night signs Of glad expectancy H.,
usual, If the spirit pervading the before N. enc
tain went up had not been pitched In higher ana 49,
beautiful key than before. Opera OF the 49,
provided by the new regime, though often shor A.
perfection in performance. bcgets interest 49,,
than curiosity and cultivstes higher faculty a, ~
joyment than sensuous pleasure. The Mar,
politan audiences have steadily grown In ser,ou,,
Of purpose and depth and sincerity Of sppre,,s..
This is the DER true tale told by the box oae. "a
ropcrtory, as we'll the conduct Of the peope tb.
selves. IL Is not fanciful speculation: the no,,
obdurate sceptic may convince himself OF n ~ h. ,m
The opera wagners "FIying Dutchmans.
compromise selection some. will say who recor,.c,
that Mr. Stanton is every year called on to sndur.
tho criticism and abuse of Anticipated ndv,duals bs
cause he tries TO meet the wishes OF the public a.
plainly expressed in the facts Of attendance and an
thuslasm The Flying Dutchman" is wagnersn
yet not Wagnerian. 1t does not aim 10 be anyth,na
else than conventional opera though the student Of
Wagner's works viii have no difficulty in finding IN
It the germ of that system Of composition which when
it was developed compelled him to discard the term
opera and TO adopt which, though much criticised
is merely translation of the g ramma per muscas
Of the italian inventors Of the opera. 1t contains
a good deal of writing in the conventional manner,
Of which IS iDnocently meodious enough to
crafty the most unconscionable lover Of tunes and
for this reason may be considered concession to
those opera-goers who have been do
crying Mr.. stanton's lists too heav
fly wagnerlan. But It also happens to be IN
parts profoundly dramatic in the best sngu
larly enough the scene which is hailed by the ad
mrers OF the old style OF operac song truly beau
full one OF the most truthfully dramatic in the
work, and the very from which Wagner set on
his mission OF reform and reconstruction. II thai
which opens the second actthe spinning chorus and
Sentas ballad This has been loudly praised DO
cause Of its uncOnstrained musical beauty, yet Il
Wagner is to be believed, it must be looked upon a
composition. It the first number OF the opera haa
be composed and it presents the characters well a.
the ethical elements of the drama In nutshell-te
infinite longing for rest Of the curseburdened Alias
hureus of the ocean 1.-THE phrase is Wagners, his
stormy wanderIngs, and the self sacrificing love Of
sents, woman faithful unto death. The
melodies which the composer invented 10 give
expression to these essentials Of tho
tragedy be used over and over again whenever the
fu Tho nlav with
pressed briefly in the ballad. This fact has
beautiful interest for the student Of wagners dramas
and its significance is marred by the Circumstance
that besides the dramatic music TO which his purpose
when a mental mood required TO repeat its thematio
expression gave RISE there is much operate music
of the old kind in the For the operate music.
save that part of it which borrows color from the
Folkttncs of Germany land by that token may DO
looked upon the results Of Webers influence upon
the youthful Wagner, confess unable TO
cultivate liking. 1t is pretty tawdry stuff. and
welded to libretto Of the ordinary Italian stalking
horse kind would have long ago sunk into oblivion.
The book saved it and fortunately with It that mar
vellously invigorating and sailors music which
has the freshness and braciness Of stiff soueastes
as well as the splendidly dramatic music of tho
Dutchman and Senta.
In all probability, however, was not Mr.. stanton's
anxiety to steer cunnngly between the extremes Of
ence Of Herr Theodore Reichmann in his company
which occasoned the choice of " Tho Flying Dutch
man as the first opera of the season. The title rols
has dimensions and potentialtes commensurate with
abilities OF the first magnitude and to words
over matter which IS hardly likely be debated is
may be said that these dimensions were never fully
disclosed to the New York public till last night For
this credit must be divided betwee IN Herr Reichmann
and Herr Sedl. Herr Rechmann owes his eel sbr.ty
'hefy 10 HIS ientif alton with the part OF Amt rtas 10
the Bayreuth festivals; HIS fame in the musical world
rests largely his representation in Vienna and tho
principal opera houses in Germany, Of the Dutchman.
Through his profoundly pathetic conception Of The
Wandering Jew Of the Sea-" and Herr Seidrs SYM
pathetic appreciation Of the score and his ABILITY to
make the performers shadow forth its tragic import the
sntire opera assumed physognomy that must have
seemed srlkngly to those whose opinion o. 1t had
been formed on the performances that
have been given here in italian and
English. Herr Reichmann's singing is n1
wholly free from faults but in his excmplcstion OF
he true purpose Of singing in dramatic representations
lie is master His voice IS strong, full ana vibrant,
IFS defamation superby eloquent, his use OF vocal
,olor thrllling y effective The verest novice In the
audience must have observed at the beginning Of his
luet with In the second act II he had not already
detected It in the monologe Of his first scene, hat no
vas exemDlar of species OF vocal art winch was
hundred times more moving than conventions
,peratic singing. Something like magnetic SHOCK
vent through the house when his superb tones united
nth the and lovely voice of Herr Fischer lDas
n the first Duet and though the intensity OF intere'
elt prevented any outburst of enthusiasm at the um'
every effort at applause being sternly checked |"
storm of hisses), both were rewarded with wsrm~'
tributes Of gratitude and appreciation as soon Is 'o'
urtan fell.
There were two other newcomers In the cast sos
hOugh time will not permit discussion OF tner s
md accomplishments, a sincere word OF praise LIZ
)e spoken for both. They were Fraeulein Ns'.s
senta) and Fraeulein HUM (contraltol. BOZ
Toung and both will be found 10 occupy warn 80
n the admiration OF the city's music lovers Ions
the season has begun TO grow old There was A
surprise for those who did not know the u.s.
possibilities of the role and the genuine ar'su'
les OF Herr Kalisch who made hishly n.a A
character of the part Of Erik Touching otnss n