Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-12-29
SARA'S LATEST ROLE.
Bernhardt to Appear as Joan Of Arc
in a New MelOdrama to
PLEASE THE MOTHERS OF FRANCE.
ne Great Emotional Actress Ambition to
be Realized.
her CONCEPTION OF THE CHARACTER
PLEASE THE MOTHERS OF FRANCE.
HER CONCEPTION OF THE CHARACTER
loOnEnsrONDExcr OF THE DIsfATcHl

PARIS, December 14-Manager Du Cues
mel is going to produce a melodrama by
Jules Barber, and with some of grand old
GounOd's music in it. very soon at the
Porte Saint Martin Theater, and then Joan
Of arc will appear under the features of
Sarah Bernhard. A cspricious chance,
quite an Insignificant incident in its way,
was the means of bringing about this i'm
portant event, and it is sufficiently curious
to merit being narrated.
Some time ago journalist received a let
ter from society lady in which she said:
''You, who know Nine. Bernhardt, could
you not tell that great artistic that there are
many women and young girls who would
like to applaud her, but that the class Of
pieces she plays forbid their going to the
theater to witness her triumDhs? 1t is fatal
ity. One time she plays a vicious queen, at
another takes the role of some outcast, again,
is seen interpreting the part of great lady
of suspicious morality. Why does she not
play the part of Joan of Arc2 Many
mothers would 60 and applaud her, and that
TOO with sll their hear"
The Journalist sent this letter to Sarah,
and, naturally, she was touched BY the re-
quest made to her thus indirectly. "Why,
for ten years l have fondled the plan of
playing Joan of Arc; for ten years have
wished to carry it out, and it was time was
doing so, for shall soon be too old. just
think, I am already grandmother.
So Sarah and Du Quesnel put their heads
together, and then a play which, in
spite OF its great simplicity, permits Of
3 display of mise en- scene quite out of the
common, was put in rehearsal for the
Christmas season. The title has been
changed, and it is now designated-"Jeanne
dare, drsme-legende en- trois parties" and
these three parts are called the Mission, the
Triumph and the Death. In the first the
notion takes place at Domremy, where Joan
has the vision; the second is at Orleans,
and then at Rheims, with the coronation OF
Charles VII, as King; the third is Rouen,
where we see the prison and the stake.
The illustrious musician who is writing
the melodies for "Joan OF Arc" is the same
whom all the world knows as the composer
OF Faust, and who, only a lew evenings
back, made a grand success with his
''Mireille." He and NJ. Du Quesnel, with
the musical director of the Porte Saint Mar
tin Theater, are very busy now on the de-
tails. Yesterday the manager showed the
master the model OF new scene. that of the
Cathedral at Rheims, one of LaYaStre's mas
terpieces. The first entrance is intended for
the acting, and the succeeding wings are re-
served to the choir stalls, high altar and side
chapels that are perceived in the depths, ex-
tending unheard-of distances, and Lit up by
ravishing stained-glass windows.
''Is it not superb, M friendsl'' exclaimed
Gounod, quite transported. "What silence
in that majestic structure" And turning
round toward NJ. Du Quesnel, be compli-
mented him in enthusiastic terms.
AN IMPRESSIVE SCENE.
Then Du Quesnel read the fourth scene to
him, and aiterward they decided on where
the music was to come in. In this fourth
scene, the curtain rises on a chorus which
precedes the triumphal march, a "Veni
Creator" written as plain chant Gounod
touched chord on the small piano that
forms part of his Office furniture, and with
his lovely voice, sang this chant. With
head thrown back, and eyes uplifted toward
the oaken glrders, be evoked in those pres
ent the image Of q monk of the Middle
Ages, and as he chanted, mystic warmth
passed in his persuasive and touching voice.
"Yes, it should be plain chanting, moth
ing but fundamental notes. and. sung
simply by 40 women replacing choir bows,
it will have a grand effect in the midst of
the magnificent scenery that you are prepar-
ing. After the march, " he continued. 'tthe
Archbishop proceeds to the coronation of
the King. Charles VII. buckles on his
breastplste and puts his foot in the stirrups;
Joan of Arc comes forward and recites five
BtrOphes aside; and it is here that 1 will |
place the orchestral music which is to fol-
low. and then the accompaniment to Sara's
delivery"
After the first strophe, where Joan is only
thinking Of triumphS, the grave voice of
the Archbishop is heard, who chants:
Gloria In Excelsis," and "Gloria in Ex-
eelsis respond in distant murmur the
assistants. among whom will figure |
on one side, bishops in their pevs.
crs ssed and mitred-on the other. |
pri ices and peers OF the kingdom. At the |
second strophe, Joan suddenly becomes fear
ful; lie no longer hears voices from heaven.
Dec gratlas, repeats the Archbishop, and
"De' gratiss' is taken up by the faithful |
IN muthed voices, which die AWAY in the |
depths of the arches. Joan goes back in |
her mind to her cottage at Domremy.
dreams of happy days, regrets the lilies In |
her little garden, and the birds that used to |
come and sing at her window-this during |
the third strophe. In the fourth, she asks |
Tod for power and time to finish her work, |
but In vision, she sees the horrible stake |
which is to burn her body alive, serving as |
q spectacle to the hating Judases and the |
reYengeful Pilates that dared not defend |
her. After these strophes the music ceases.
Joan walks up the stage, and the Arch |
bishop places the royal crown on the hend of |
Charles VII. She prostrates herself before |
him and then the prelate in a loud voice ex-
claims: "Nivat rex In 8ternum." tfVivat |
rex, thrice reply the multitude, and the |
choir sings carol that Gounod is now finish |
Ing.
While Du Quesnel was reading this scene.
the illustrious master listened religiously, |
-'Hes, yes; / see plainly what music is |
wanted. 1t is necessary in this case that |
music should be the servant of the situation. |
'kcce ancilla Domini,' as the angelic saluta- |
ton says. These strophes must be repeated |
by Sara Bernhardt in a kind of singing |
atmosphere, as light as muslin. ONLY q |
small orchestra, and the melody not before |
Joan but behind her." The master re-
mained absorbed in thought few moments |
and il was the musical director who re-
minded him of the realities of this world.
BERNHARDT AND BUFFALO BILL.
As most people know, am personally ac-
quainted with the golden voiced Sarah, |
having had the pleasure OF travelling with |
her as Mr.. Abbey's treasurer, during her |
first voyage in America. The last time but |
one that 1 called on Nine. BernhErdt 1 took |
Buffalo Bill with me to her dressing room 1
and presented HIM in due form to the dis |
artistic. She was enchanted, and |
some Of her friends who were present, Mile.
Abbema, the painter, ETC., did all they
could 70 make Cody know they were glad to
See him In evening dress. It was after that /
visit that Bernhsrdt gave her opinion about
Joan Of Arc.
For long time, )" said she, II have been
Of the character. After having
read Michelet Henri Martin and Lamar