New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-08-25
A MUSICAL PILGRIMAGE.
FURTHER JOTrINGS FROM wEIMAR.
JAGEMANN AND sCHRomER-AN oPERAT1C
LISZTS INFLUENCE AND LABoRS.
III l..
rnoM A srArF CONFECTIONERY OF THE rRIBuxE.l
Weinlar, July %

PROM A STAFF CORRESPONDENT or THE TRrBUSEI
Weirlar July %.
portrait of Fraulein Jagemann, whose in
inence with her lover the Grand Duke, was
greater than Gocthes in the poodle episode, which
terminated the great poets direct connection with
the theatre, hangs in the Grand Ducal library.
II was evidently painted at time when she had
begun TO put on matronly proportions. lnasmuch
as she survived Charles Augustus full twenty
| years and died at the age OF about seventy in
1913, the picture is probably the counterfeit pre-
sentiment OF her she appeared between her
| fortieth and fftcth year. 1t shows her in the
| character OF Sappho, with Greek robe and Tyre
| II the tale of Charles Augustus's infatuation and
| the many contemporaneous records were not on
hand to attest the fact, this portrait would yet
| prove that she woman Of extraordinary
| beauty. In spite Of the somewhat too generous
| upholstery of intcgument, the Greek lines OF her
profile are still TO be secn and the faint reflection
| of what must have been peculiarly lustrous and
srcalSing pair Of eyes Her talent seems to have
been commensurate with her beauty, for the pro-
grammes show that she took part in comedy,
tragedy and opera, and the Judgment Of the time
is that she was equally great in each department.
Muscally, her gifts shone brightest III Mozarts
operas and in the spoken drama her principal
parts were Maria Stuart, Theka, Portia aid
| Iphigcnia.
| 1t is through this brilliant woman that we of
| to-day. prone to look back upon an artistic IN
| stitution which felt the direct influence OF men
| like Goethe and Schiller and enjoyed rcnown
| almost without parallel IN the history of the stage
| with feeling Of awe, are privileged also to sec
| that in those classic days OF the German drama
| there was also present the alloy OF weak human
nature Brilliant as this demoisellc Jascmann
vas I have vet to learn that Goethe ever sang
hcr praises. The episode of The Dog OF Auoriue
! Mont-Di,licr~ tells part Of the story. IL was
the elimination Of twenty years OF effort 10 acquire
complete mastery of the theatre She was prima
donna like many prima donnas OF to-day. Tears
and mysteries marked her triumphant path Her
| unfortunate colleagues were despolied OF their
les, roles the moment sic lused after them, and
the stage manager stood ceaseessly upon the tread
mill of perpeNity once, It was in 1901, an UNI
/ b,nnv conductor thought he knew more than she
obout the proper tempt of Donna Annas airs IN
DON Giovanni A quarrel in the rehearsal lett
each determined 20 choose the time. NJ the per-
formonce tho conductor, Kranz, used the advantage
which the baton gave him. Jagcmann quit sing
;r hurst into tears and left the stage. OF course
sbe anpoalcd 10 the Grand Duke with whom each
s,Iiuc drop WEIGHED more than all the eloquent
/ or,,,rner,, of fine musician. Poor kranZ was sus-
,endcd and when later he was permitted 10 re-
sumo his functions, il was with the condition th1e
no should never conduct when Jagcmann sang
The glory which Jagemann never won WIN
all her beauty. talent and influence was gar
ncrrd by one who had preceded her on "elinl'
stage. and whbse portrait also hangs, legacy
from. Goethe, in the library at the other ehd OIL
tho room which contains Charles Augustus D
"Sapphor The picture shows the features Vi
Corona Elizabeth Wilhclminc Schroeder. ana Is
! doublv interesting from the fact nlat IL was
n,intcd by it's subject and presented TO Eoethe
| as n souvenir Of an occasion when ne hsh pcrh
made happy by ,he privilege OF participating WIN
her in one of her own plays. 10 nave oeci ao-
mircd. perhaps loved. by the greatest poet OF HIS
time and one Of thc handsomcst men, is enough
i'm the opinion Of the inpreSslohaoe "c'in'"
mnden of today 10 give any woman CAIN on
immortality. The claim is recognized as valid
only in the case of a favored few. for alas 'he
claimants were So many! Goethe himself now
eyer nut the sign of his approval on the ease OF
Corona Schroeder, not by putting her name In
the mouths Of scandal -mongers, but 10y cmbalming
!, =, the verses which he wrote " ON the death
| ~ Mailing NEEDING was an actor OF the com
,,rr which WAS wont 10 entertain the Hrahd
! DucaI conr, before the Court Theatre had been
| couod into existence so was Corona Schroeder,
| yvbom Goethe met firr in Leipslc and brought
~ Wcimar i'm 1878. She was then thirty years
| old fl singer actress composer OF songs lshe sc'
somc NJ Cocthc's verses, and, in an amateur way
rointcr The portrait which she gave To "oethe
! contracts ,,rongly with that OF Jagemann IN re-
spcct of spirituality, and would attract attention
aside from It's associations. | fear but niue oil
the beauty OF Gocthc's tribute Will appear IN 'h'
| following attempt at n translation oil the lines
which are devoted TO this lovely woman IN the
poem referred to:
More room my friends Fall back ilttle space
scc one approach "iSrc Deu' .'s , dn,dpd -
'ris she herself, on whom We Ger ucP5,u ,,,a,
! orr pray rs are hcar-thcir gii' the muses. SC"u'
| You know her Wei, tic cause oil sure u,iKn''
! 4 woudrous mower she bursts upon our sight.
10 lie a model sho 10 earth wa, sent
! Wherein the real and ideal should be bIeht'
| III all thcir gifts the nine withheld no part,
! And nature brcathcd IN her the breath oil airy.
TO lend her charms the World ltNcii j. spcn.
! And cen thy name Corona, i an ornament.
I I1nhoId her now! Her movements Hight aS air.
| Unconscions She who secnls win purpose iaT'
| I'm her observe with grateful, deep sHrptIsC,
! An ideal mixture, saved for artists eyeS'
The collection OF programmes in the Library
reaching from 1893 down TO date, ana ehcoiIl-
nassinr both periods OF renown enjoyed py
| Wclmar's Theatre, tempted to comparative STUDY
for which the Pilgrim did not have SUFFICIENT thlc
! Instead he sought to gain what hghV III co"'
| by noting the repertorics OF c'rl"i" Sc"i'' o
because Of their chronological relation lhesc
were, so far as the opera under "oetnes ao'ni'i,'
,rot,or vos concerned. first the third year OF the
existence of the theatre Court Theatre, say
rom October. 1898, to the end of 1894 The
onorctio list within this time was not imposing.
Interesting appcared the first performance OF
! Nor,in;s a.'rcc of Dianu." OIL October 10, 1893.
This is the opera OF which Da Ponte wrote the
ubretto simultaneously with that Of Don Clio
vonni.o If his extremely fantastical memoirs writ
ton in Ncw-York arc to be credited. Another
frs, performance is that Of M0zarts " Magic Flute
on January 10, 1894. IL became popular ut once
as frequent rcpcttions evidence
These are the only operate first productions faii-
ING within the time but performance OF Mozart
" Entfuehrungr on June 10, 1894, deserves 10 DC